Carla Helmbrecht & Akio Sasajima - Quiet Intentions

Bitrate: 320K/s
Time: 57:26
Size: 131.5 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[5:16] 1. Skylark
[3:54] 2. You Don't Know What Love Is
[4:42] 3. Girl Crazy: Embraceable You
[5:54] 4. How Insensitive
[4:30] 5. Bewitched Bothered And Bewildered
[5:14] 6. Angel Eyes
[3:45] 7. Stardust
[5:19] 8. Cry Me A River
[4:12] 9. A Nightingale Sang In Berkeley Square
[4:57] 10. That's All
[3:46] 11. My One And Only Love
[5:51] 12. Two For The Road

Grammy-nominated vocalist and song-writer, Carla Helmbrecht, began her love affair with music at the age of eight. A native of Wisconsin, Carla was raised in a large music-loving family and had an inherent desire for music. It was her father who introduced her to jazz, and it was not uncommon for the entire family to spend endless evenings making music. By age 13, she was singing professionally and continued her musical studies through high school and college. Her earliest jazz influences included Ella Fitzgerald, Sarah Vaughan, Julie London, Count Basie, and Dave Brubeck. Later influences included Shirley Horn, Nancy Wilson, and Miles Davis.

While studying Speech-Language Pathology at Texas Tech University, Carla sang with the TTU Jazz Ensemble I under direction of Alan Shinn. There, she had the opportunity to perform with and open for jazz notables, such as Tuck and Patti, the Yellowjackets, Louie Bellson, and Tony Campizi. In 1993 she was awarded "best vocal performance" by IAGE.

Carla’s experience in Speech-Language Pathologist specializing in the area of voice has given her a unique understanding of the A&P of vocal use. She has frequently worked with professional singers in helping them to rehabilitate their voice, to achieve balance between vocal efficiency and expression, and to have longevity with this beautiful but fragile instrument – the voice.

Carla recently completed a new duo project with guitarist Akio Sasajima. The project, QUIET INTENTIONS, is a guitar + vocal duo.

Quiet Intentions

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Oliver Nelson - Booze Blues Baby

Bitrate: 320K/s
Time: 36:20
Size: 83.2 MB
Styles: Hard bop, Saxophone jazz
Year: 2013
Art: Front

[6:31] 1. Booze Blues Baby
[6:50] 2. What's New
[5:28] 3. Ostinato
[3:41] 4. Don't Stand Up
[6:48] 5. Passion Flower
[7:00] 6. Jams And Jellies

Oliver Nelson was a distinctive soloist on alto, tenor, and even soprano, but his writing eventually overshadowed his playing skills. He became a professional early on in 1947, playing with the Jeter-Pillars Orchestra and with St. Louis big bands headed by George Hudson and Nat Towles. In 1951, he arranged and played second alto for Louis Jordan's big band, and followed with a period in the Navy and four years at a university. After moving to New York, Nelson worked briefly with Erskine Hawkins, Wild Bill Davis, and Louie Bellson (the latter on the West Coast). In addition to playing with Quincy Jones' orchestra (1960-1961), between 1959-1961 Nelson recorded six small-group albums and a big band date; those gave him a lot of recognition and respect in the jazz world. Blues and the Abstract Truth (from 1961) is considered a classic and helped to popularize a song that Nelson had included on a slightly earlier Eddie "Lockjaw" Davis session, "Stolen Moments." He also fearlessly matched wits effectively with the explosive Eric Dolphy on a pair of quintet sessions. But good as his playing was, Nelson was in greater demand as an arranger, writing for big band dates of Jimmy Smith, Wes Montgomery, and Billy Taylor, among others. By 1967, when he moved to Los Angeles, Nelson was working hard in the studios, writing for television and movies. He occasionally appeared with a big band, wrote a few ambitious works, and recorded jazz on an infrequent basis, but Oliver Nelson was largely lost to jazz a few years before his unexpected death at age 43 from a heart attack. ~bio by Scott Yanow

Booze Blues Baby

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Erin Boheme - What A Life

Styles: Jazz Contemporary
Year: 2013
File: MP3@320K/s
Time: 36:50
Size: 84,4 MB
Art: Front

(3:21)  1. Everyone But Me
(3:27)  2. I Missed You Today
(3:09)  3. In My Place
(3:34)  4. In My Shoes
(4:09)  5. The Last Time
(4:33)  6. I Do I Do
(3:18)  7. He Isn't You
(3:44)  8. One More Try
(3:54)  9. What A Life
(3:39) 10. I'd Love To Be Your Last

When teenaged Wisconsinite Erin Boheme made her recording debut in 2006, she opted for a too-mature style that suggested Marilyn Monroe by way of Billie Holiday. Now, at age 25, Boheme has settled into a far more age-appropriate groove that seems composed of equal parts Sophie Milman and Taylor Swift. Last time out, Boheme also favored several tunes geared toward an older, more seasoned performer. Here, Boheme’s largely original material (among the 10 tracks there are only two covers, one from David Foster and another from Miranda Lambert) is better suited to her age and demeanor.

The album’s producer is Michael Bublé, marking the crooner’s first venture on the opposite side of the mic. Bublé was, as is widely documented, a protégé of Foster’s. So it’s hardly surprising that he favors Foster-esque arrangements throughout. Every track is, it seems, another opportunity to transform a simple, pretty love song into a slice of steamrolling pop. Bublé also lent Boheme his touring band—pianist Alan Chang, guitarist Dino Meheghin, bassist Craig Polasko and drummer Robb Perkins—an able foursome, surely well versed in the nuts and bolts of Foster-esque overproduction, complete with waves of syrupy strings.

There are some solid tunes buried in the excess, particularly the forthright “In My Shoes,” the gently swinging “He Isn’t You” and the tender, Henry Mancini-inspired title track. Boheme also duets with her producer on Lambert’s “I’d Love to Be Your Last.” Surprisingly, though, given that Bublé’s pulling the strings, he sounds oddly detached throughout.~ Christopher Loudon(http://jazztimes.com/articles/58997-what-a-life-erin-boheme).

Personnel: Erin Boheme (vocals); Dino Meheghin (guitar); Nancy Dinovo, Mary Sokol Brown (violin); Hal Foxton Beckett (viola); Ari Barnes (cello); Alan Chang (piano); Robert Perkins (drums).

What A Life

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Nancy Kelly - Born To Swing

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 56:57
Size: 131,1 MB
Scans: Front

(5:01)  1. I've Got the World on a String
(3:44)  2. Like Someone In Love
(5:15)  3. You'd Be So Nice To Come Home To
(5:37)  4. More Than You Know
(3:14)  5. Falling In Love With Love
(4:38)  6. Let Me Off Uptown
(6:15)  7. Didn't We
(3:18)  8. Come Rain or Come Shine
(5:12)  9. I'll Be Seeing You
(3:54) 10. Watch What Happens
(6:10) 11. New York State of Mind
(4:33) 12. Let's Talk Business

Nancy Kelly is a jazz vocalist who has recorded three albums since 1988 on the Amherst label. Born in Rochester, Kelly lives on Lake Ontario between Syracuse and Rochester in upstate New York. Her new album has the decided advantage of presenting her with a fine quartet: Houston Person (tenor sax), Dino Losito (keyboards), Neal Miner (bass) and Mark Taylor (drums). Their music, and especially the obbligatos and solo work by Person, lift this album up a notch. The presence of Nancy Kelly suggests the sympatico relationship that the tenor saxophonist shared with signer Etta Jones for so long. I'm not saying that Nancy Kelly's recording persona is anything like that of Etta Jones, but this disc hints at enough of a suggestion of the shared musical moments between Person and Kelly.

The songs are all serviceable and Kelly does breathe some life into such familiar jazz vehicles as "I've Got The World On A String," "Come Rain Or Come Shine" and "Like Someone in Love." After providing several soulful moments on the opening, Houston Person steps out "for a cup of coffee" and only reappears on the midway mark of the album. Thank goodness, for the very solid playing of pianist Dino Losito, another regular from New York's Southern Tier, who provides some two-fisted support for Kelly, as well as efforts by Miner and Taylor. When Person returns on "Come Rain Or Come Shine," the listener can settle back into a full comfort mode.

Coincidentally, Nancy Kelly opened for a jazz act in suburban Long Island that I had planned to attend and I did get a bonus opportunity to hear and meet the singer under working conditions. Her backing trio of Sarah Jane Cion (piano), Jerry Bruno (bass) and Joe Cocuzzo (drums) cooked, and Kelly showed her skills at both scatting and singing, taking a lot more freedom with the melodies. In addition, Kelly shared showed great ease with her musicians and exuded a hipness with both the audience and her trio.

Personnel: Nancy Kelly: vocals: Houston Person: tenor saxophone; Dino Losito: piano, Fender Rhodes; Neal Miner: bass; Mark Taylor: drums. (By Michael P. Gladstone) http://www.allaboutjazz.com/php/article.php?id=22270#.Unfme-IufKc

Born To Swing

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Hugues Aufray - Aufray Chante Dylan

Styles: Pop
Year: 1965
File: MP3@192K/s
Time: 82:18
Size: 114,4 MB
Scans: Front

(3:40)  1. Au coeur de mon pays
(4:32)  2. Ballade de Hollis Brown
(4:48)  3. Cauchemar psychomoteur
(3:36)  4. Ce n'était pas moi
(3:29)  5. Ce que je veux surtout
(6:38)  6. Comme ces pierres qui roulent
(4:24)  7. Dans le souffle du vent
(5:29)  8. Dieu est à notre côté
(4:35)  9. Knock knock ouvre toi porte d'or
(4:36) 10. l'Homme dota d'un nom chaque animal
(4:09) 11. La fille du nord
(4:17) 12. La mort de Hattiee Caroll
(3:17) 13. Le jour ou le bateau viendra
(4:11) 14. Les temps changent
(3:53) 15. N'y penses plus tout est bien
(4:53) 16. Nous serons libres
(3:00) 17. Si tu dois partir
(4:32) 18. Tambourine man
(4:11) 19. Tout le monde s'est plante

Hugues Aufray merits an interesting footnote in Bob Dylan history for translating Dylan's compositions into French in the mid-'60s. His 1965 LP, Aufray Chante Dylan, could be one of the first times an all-Dylan cover album was done by a non-English-singing performer. Though an overall respectable interpretation (entirely in French) of 11 early Dylan songs, it's stylistically uneven, almost as if it's taken from several different eras (or at least gaining its inspiration from several different phases of Dylan's development). Some tracks, like "Dieu Est a Nos Cotes" ("With God on Our Side"), are plaintive acoustic guitar strum-and-voice-only arrangements much like those heard on Dylan's early records. 

Others add somewhat hokey, dated background voices ("Le Jour Ou le Bateau Viendra," aka "When the Ship Comes In") and strings ("La Fille du Nord," aka "Girl from the North Country") in an uneasy pop-folk fusion that sounds like attempts to put the songs in more commercial dressing. Still others sound like they're trying to hop the mid-'60s folk-rock bandwagon ("Ce Que Je Veux Surtout," aka "All I Really Want to Do") or imitate the tense blues-rock-oriented sound of Dylan's own 1965 folk-rock records ("Cauchemar Psychomoteur," aka "Motorpsycho Nightmare"). Aufray sings the material with earnest, slightly gritty dignity, though without particularly distinctive personal imagination. By no means among the better batches of Dylan covers of the period, it's nonetheless by no means among the worst, and historically interesting at the least. ~ Richie Unterberger    http://www.allmusic.com/album/aufray-chante-dylan-mw0001157445

Aufray chante Dylan

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Jim Alfredson's Dirty Fingers - A Tribute To Big John Patton

Bitrate: 320K/s
Time: 62:06
Size: 142.2 MB
Styles: Organ jazz
Year: 2013
Art: Front

[8:32] 1. Good Juice
[6:12] 2. Daddy James
[6:52] 3. Dirty Fingers
[7:49] 4. Gentle John
[7:23] 5. Let 'em Roll
[7:38] 6. Early A.M.
[5:49] 7. String Bean
[4:34] 8. My Valentine
[7:13] 9. Along Came John

Big John Patton (July 12, 1935 in Kansas City, Missouri – March 19, 2002 in Montclair, New Jersey) was a staple of the Blue Note label's roster during the heyday of soul jazz in the 1960s. As well as a respected and in-demand sideman, Patton also made a name for himself as a band leader and composer, defining the sound of acid jazz for decades to come.

Patton is the link between the bluesy hardbop of Jimmy Smith and the modal free-jazz explorations of Larry Young. His style is funky and raw, emotional and honest, and thrillingly visceral.

Jim Alfredson's playing and writing for organissimo is heavily influenced by Patton. This project is his way of honoring the man and his music. Featuring an all-star lineup, including the inimitable Randy Gelispie on drums (Professor of Jazz at Michigan State University, who has performed and/or recorded with Jack McDuff, Wes Montgomery, Larry Young, Gene Ludwig, Bill Heid, Nancy Wilson, Tommy Flanagan, Barry Harris, and many more), the band romps through seven classic Patton songs as well as a contemporary ballad and an original by Alfredson.

A Tribute To Big John Patton

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Arvell Shaw & The Swing Legacy Allstars - S/T

Bitrate: 320K/s
Time: 51:51
Size: 118.7 MB
Styles: Big band, Swing
Year: 2013
Art: Front

[6:20] 1. Moten Swing
[4:02] 2. If It Weren't For You
[3:17] 3. Taft's Blues
[2:50] 4. What Have You Done With The Keys To Your Heart
[4:34] 5. Arvell's Tune
[2:47] 6. Every Day Blues
[2:53] 7. Lush Life
[4:45] 8. Blue Lou
[5:35] 9. Concerto Du Blues
[4:33] 10. Did I Remember
[2:57] 11. Budd's Idea
[2:32] 12. The Man With A Horn
[4:38] 13. Skin Tight And Cymbal Wise

Shaw is best known for his association with Louis Armstrong, whose last big band he joined in 1945; here he plays upright bass & sings on this swinging session recorded in New York in 1956, featuring Budd Johnson, Taft Jordan, Vic Dickenson, George Berg, Andre Persiany and Gus Johnson.

Bio by Scott Yanow: Featured with the Louis Armstrong All-Stars during several periods, Arvell Shaw was arguably Armstrong's finest bassist and the only musician in his band that was influenced to an extent by bebop. Shaw played tuba in high school before switching to bass. He played with Fate Marable on riverboats in 1942, was in the Navy during 1942-45 and then was in Louis Armstrong's final big band (1945-47). Along with drummer Sid Catlett, Shaw was retained after the orchestra broke up and became an original member of the Louis Armstrong AllStars, easily the youngest member at age 24. Although he spent 1950-52 off the road, completing his musical studies, Shaw rejoined Armstrong during 1952-56, traveling the world and appearing on many recordings with Satch until he left in 1956. Shaw worked with Russ Case at CBS, was with the Teddy Wilson Trio, played at the Brussels World Fair with Benny Goodman in 1958, stayed in Europe for a few years and rejoined Goodman for his Latin American tour of 1962. Shaw spent a third period back with Louis Armstrong (1962-64) and rejoined him briefly a few times later in the decade. Otherwise, Arvell Shaw (who has never led his own record date) has been a freelancer in the New York area ever since, playing with a variety of all-star mainstream groups and in the 1980's touring with a show titled "The Wonderful World Of Louis Armstrong."

Arvell Shaw & The Swing Legacy Allstars

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Hilde Hefte - Short Stories

Size: 98,7 MB
Time: 42:47
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz, Crossover Jazz
Art: Front

01. Mercy Street (4:50)
02. O Tysta Ensamhet - Visan Fran Utanmyra (4:01)
03. My Bells (2:41)
04. O Pato (1:55)
05. But Beautiful (2:50)
06. My Romance (5:11)
07. In Germany Before the War (3:23)
08. Danny's All-Star Joint (2:36)
09. White Night (3:38)
10. You Leave Me Breathless (4:50)
11. Jag Vet En Dejlig Rosa (2:25)
12. Flotervise (4:20)

«The jazz-singer who manage to get the whole jazz-country to stop and listen.»

These words came from one of the most respected jazz journalists in Norway when he wrote his review about Hilde Hefte's new album 'Short Stories' (released 2013) and he is referring to her first solo-recording 'Round Chet's Midnight'. And he continued - and said about her latest album: «Hilde Hefte's most important decision. The jazz singer Hilde Hefte said she had to do something new, and she has done so with bravour.»

«She's making waves on the Norwegian scene.»
These words are taken from the leading jazz magazine Down Beat when Hilde released her album 'Round Chet's Midnight.

Hilde studied music at the highly respected Barratt-Dues Music Institute with piano as her main instrument. She has also been playing guitar, alto saxophone and Bb clarinet, and she has studied acting at Nordic Institute for Scene and Studio. For one periode she was teacher at Vest-Agder Music Conservatorium. She's been giving parts in different plays; for example the leading part as Edith Piaf to mention one. She has written lyrics, composed music for her own productions as well as for other musicians and singers and she's composed and arranged music for theatre productions. She's also been invited as a guest singer on various CD productions.

She's released 6 solo albums to fantastic reviews. For her work Hilde Hefte has received various grants and prizes.

2003 she established the sheet music company Norsk Jazzforlag and the year after the record company Ponca Jazz Records.

Short Stories

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Pearl Django - Swing 48

Bitrate: 320K/s
Time: 50:31
Size: 115.7 MB
Styles: Gypsy jazz
Year: 2003
Art: Front

[3:51] 1. Swing 48
[2:33] 2. La Mer
[4:31] 3. I Can't Believe That You're In Love With Me
[2:59] 4. Dragonfly
[3:00] 5. Swing 24
[4:16] 6. Holiday For Guitars
[3:39] 7. Sweet Sue, Just You
[3:51] 8. Melodie Au Crepuscule
[3:17] 9. Samois Swing
[5:00] 10. Palo Verde
[2:28] 11. Freeway
[2:55] 12. Cb's Waltz
[3:47] 13. Sweet Chorus
[4:17] 14. Double Scratch

This is the seventh release by one of America's premiere "Hot Club" influenced groups, Pearl Django. "Swing 48," the title cut on this CD, is a Django Reinhardt minor blues, and it's used here as a vehicle to showcase the hard swing and improvisation of the five members of Pearl Django. The thirteen other compositions are a mix of band member originals, Django tunes and standards. So much of Pearl Django's music shows their appreciation for music that is upbeat, that swings, and that generally displays their love for "Hot Club" style jazz. Features guitarists Neil Andersson and Dudley Hill, as well as violinist Michael Gray.

Recorded at David Lange Studios, Edgewood, Washington.

Michael Gray (violin); Neil Andersson, Dudley Hill, Greg Ruby (guitar); Rick Leppanen (double bass). Additional personnel: David Lange (accordion); Mark Ivester (drums).

Swing 48

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Keissy Costa - Lemanja

Bitrate: 320K/s
Time: 44:30
Size: 101.9 MB
Styles: Brazilian jazz vocals (some Japanese too)
Year: 2013
Art: Front

[3:28] 1. Agua De Beber
[4:16] 2. Chovendo Na Roseira
[3:48] 3. Ainda Bem
[3:05] 4. Garota De Ipanema
[3:51] 5. Wave
[4:01] 6. Nos E Mar
[3:31] 7. Aguas De Marco
[3:08] 8. Corcovado
[3:49] 9. Lemanja
[3:59] 10. As No Kakera
[3:36] 11. Minami No Kini
[3:51] 12. Nada Sousou

Daughter of Betty Max sings and enchants Japan.

Born in Belém do Pará, Brazil, on May 13, 1986 (abolition of slavery, as she does highlight), Keissy Costa came with her parents to Japan in 1993 at the age of 7. Her father, Te Max, was a famous singer in Belém do Pará, and her mother, Betty Max, was known as the Japanese girl from “Calypso”. She was influenced by the family since childhood and started singing professionally since age 9 in restaurants, churches and concert halls. She loved listening to her father play and the meetings with Brazilian friends, and she ended up learning to play guitar and tambourine so she could join them. She also eventually developed the ability to compose, as a natural step.

The music helped her to keep up the language and the Brazilian influence in her life, since she was brought up in the Japanese archipelago, where she attended the Japanese normal school. Determined to live through her music, and through the assistance from a Japanese music agency, the opportunity to return to Brazil happened in 2006, where she attended the Universidade Livre de Música-Tom Jobim, in São Paulo, to develop her musical base. She returned to Japan in 2012, and has maintained a full schedule of performances throughout the country.

Her work has been increasingly developed inspired primarily in names like Tom Jobim, Chico Buarque, Elis Regina, Monica Salmaso, Joyce, Filó Machado, Marisa Monte, Renato Braz, Sergio Santos, Mario Gio, among others. As part of her future plans she is seeking support to record heir first CD, and her biggest dream is to travel the world spreading the Brazilian music, because as she says, her restless soul belongs to the world!

She sends a message to young people who live and study in Japan: "I try to think that life is always a beginning. I think that it is important to open a new door as soon as possible than never. I feel that we carry on the chest the difference, the “saudade” (the longing for) and desire to have a better day. And if the pain decided to follow you, just believe that everything is for the greater good. ~ thank you yara for the review and translation.

Lemanja

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Leah Kline - Playground

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 63:36
Size: 145,6 MB
Art: Front

(5:05)  1. Doodlin'
(4:23)  2. Love for Sale
(6:11)  3. Wives And Lovers
(2:13)  4. Give Me The Simple Life
(3:27)  5. Girls Of Summer
(4:50)  6. In The Dark
(4:57)  7. Alone Together
(4:00)  8. Prelude To A Kiss
(3:31)  9. Hernando's Hideaway
(2:45) 10. Oh! Look At Me Now!
(3:43) 11. Call Of The Muse
(2:50) 12. I've Got Rhythm
(2:15) 13. Diamonds Are A Girl's Best Friend
(3:41) 14. Peel Me A Grape
(5:20) 15. Tenderly/ Midnight Sun
(4:17) 16. Pure Imagination

Leah Kline's debut CD certainly is a Playground of fresh and creative new ideas that just simply add up to a lot of fun for the listener. Someone would have to be hard pressed to not like this recording by the Amsterdam-based Kline and her supporting group of Los Angeles-based jazz musicians. What they have assembled is a collection of new and unique arrangements that provide a fresh take on jazz standards such as "Doodlin,'" "Prelude to a Kiss," "Peel Me a Grape" and pop songs like "Wives and Lovers," "Hernando's Hideaway," "Diamonds are a Girls Best Friend," and "Tenderly." Kline also adds one original to the mix with her lyrics on "Call of the Muse," set to music composed by Joost van de Knaap.

One of the fun elements of this recording is Kline's voice. Her presentation possesses a certain bluesy swagger with a Mae West "Why don't you come up and see me some time" attitude. These qualities are most evident on the opening track, an arrangement of Horace Silver's "Doodlin'" with vocalese by Jon Hendricks. Kline negotiates large mouthfuls of lyrics with insouciant aplomb and hipness. The "come hither" part of Kline's musical personality shines most brightly in the arrangement of Cole Porter's "Love For Sale." Pianist John Rangel's Latin-styled arrangement and the somewhat melodramatic introduction show off what must be an exciting stage presence for Kline when she performs live.

Her performance on the Johnny Hodges/Duke Ellington classic "Prelude to a Kiss" turns this romantic ballad on a tangent from Hodges' familiar excruciating ecstasy to more of a lover's sweet and gentle caress, presented lovingly and simply with only Rangel's piano accompanying. Another unique approach is Kline's rendition of "I've Got Rhythm," accompanied only by the rhythm of drummer Lorca Hart. There are also some passages where Kline demonstrates her ability to scat sing when trading fours with drummer Hart.

With all of the jazz singers out and about today, Leah Kline is certainly one worthy of notice. Her debut CD is certainly a playground of great creativity, musicianship, and fun. I look forward to her next recording project. ~ Craig W.Hurst   

http://www.allaboutjazz.com/php/article.php?id=14685#.Um1SYRAueZc

Personnel: Leah Kline (vocals), John Rangel (piano), Mike Valerio (bass), Lorca Hart (drums), Derf Reklaw (percussion, Dan Weinstein (trombone and violin), Larry Williams (trumpet)

Playground

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Viktoria Tolstoy - A Moment of Now

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 55:39
Size: 128,1 MB
Art: Front

(4:13)  1. A Moment of Now
(3:36)  2. Hand in My Pocket
(5:29)  3. Shadow and Light
(4:34)  4. Send One Your Love
(4:44)  5. I Can Let Go Now
(4:58)  6. Deep River
(5:05)  7. Red Rain
(4:26)  8. Against All Odds
(4:43)  9. Satisfied
(5:37) 10. I Concentrate On You
(4:24) 11. Scent of Snow
(3:44) 12. Northern Star

Though there are many beautiful singing voices in jazz today, Viktoria Tolstoy is one of a kind. A great melodramatist of jazz who is also bipolar, she makes happiness sound fragile and threatened, and bitterness sweet and enchanting. She has framed and perfected this art on a conceptual level since becoming an ACT artist in 2003, whether concentrating on material from Esbjörn Svensson – whose e.s.t. began to some extent as her accompanying trio – or, most recently, on Herbie Hancock, classical originals, Swedish standards or repertoire from Russia, the home of her ancestors.
Her latest album "A Moment Of Now" is her most frank recording yet – for one simple reason: "Jacob [Karlzon] and I are the concept this time," says Viktoria. Indeed it is an intimate album by the duo that focuses on their musical partnership. Karlzon has been Tolstoy's trusted companion on her band projects for almost 15 years now, his playing thrives on nuances, transitions, ambiguities – be they inspired by classics such as Grieg or hard rockers the likes of KoRn. It is a partnership that shows no signs of abating, despite Karlzon’s own highly successful trio that bears his name. "We each generally know in advance what the other is thinking and is going to do, without either of us having to say anything. It's almost a bit spooky," says Tolstoy of the intuitive understanding between the two.

Their style depends on melodies like a fish depends on water, and 14 of the best are brought together on "A Moment Of Now". As Tolstoy explains, they are "songs we've heard a lot in recent years, and that imposed themselves on us, but also some that were entirely new to us and were really a challenge”. This has resulted in a selection that sounds entirely coherent and as if created especially for these two musicians, even though its component parts come from the most diverse, stylistic, and often surprising backgrounds. From the classical "Apres Un Reve" by the Frenchman Gabriel Faurè, to Stevie Wonder's soul-pop "Send One Your Love" – on which Tolstoy invited Jocke Bergström, a new face in these climes, to share in a vocal duet that simply takes your breath away – to the jazzy "Shadow And Light" by Joe Zawinul. Thanks to Tolstoy's father, who suggested Phil Collins' "Against All Odds", the entire history of Genesis is represented, so to speak, with "Taking It All Too Hard" and Peter Gabriel's "Red Rain" also rebooted on the album.

Beyond global hits like these or Alanis Morissette's biggest success "Hand In My Pocket", the album also includes new discoveries like "Satisfied" from the almost-forgotten funk virtuoso Lewis Taylor and "Deep River" from Norwegian jazz saxophonist Benedik Hofseth. Among the pieces, three were originally instrumentals; namely "Apres Un Reve" (based on Faurè's "Apres Un Reve"), the Pat Metheny revamp "A Moment Of Now", and Karlzon's own composition "Scent Of Snow”. For these, Anna Alerstedt, the fantastic songwriter who Tolstoy discovered in 2008 for "My Russian Soul", once again pens profound and memorable lyrics.

The ease with which Viktoria Tolstoy and Jacob Karlzon can change the fundamental character of songs that otherwise seem to be set in stone is quite spectacular. The best example of this is their interpretation of Mark King's "Lessons In Love", transformed from a loud up-tempo song by the funk band Level 42 into a melancholy ballad. There’s also Cole Porter's classic "I Concentrate On You", which rings out as a Nordic anthem, and which in the middle section is even reminiscent of Esbjörn Svensson's "Love Is Real". But above all, what the songs all have in common is an overwhelming quietude and power. The weighty and complex sounds light and easy  just note the jumps and key changes on "Satisfied", where the subtle nuances and vocals change and shape the music.

There is a calmness and strength in the music that comes from experience and draws from the tried and trusted. For example, Nils Landgren returns as the producer, while the album was recorded with the familial team at Nilento Studios in Goteborg. "I felt safe and well looked after at every moment,” Tolstoy recalls, “Never change a winning team!". This is how a fascinating and completely unique moment in her and Karlzon's oeuvre was born and it is one that will remain.  http://www.actmusic.com/en/Artists/Viktoria-Tolstoy/A-Moment-Of-Now/A-Moment-Of-Now-CD/Produktinformation/%28release_id%29/20842

A Moment of Now

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Scott Hamilton - Remembering Billie

Styles:  Jazz
Year: 2013
File: MP3@320K/s
Time: 58:27
Size: 134,9 MB
Art: Front

(7:05)  1. When You're Smiling
(4:57)  2. Foolin Myself
(5:17)  3. Good Morning Heartache
(4:55)  4. Them There Eyes
(5:51)  5. Laughing At Life
(5:28)  6. You're My Thrill
(6:36)  7. This Year's Kisses
(6:34)  8. God Bless The Child
(6:32)  9. I'll Never Be The Same
(5:07) 10. If Dreams Come True

SCOTT HAMILTON..."Remembering Billie" JUST IN!...Stunning Reviews are coming in daily..check out what the critics are saying here.

“Scott Hamilton ..He swings, he’s always in the pocket and he doesn’t need/have to prove anything. If you want to listen to some sweet jazz that’s played for the sheer joy of it, you and this set are going to get along just fine. Killer stuff that gives mainstream jazz a good name no matter how much dirt hipsters try to kick at it.” By Chris Spector Midwest Record

“Remembering Billie, is something of a magnum opus, from an artist who is at a place in his illustrious career where a magnum opus is just what is needed to top so many previous glorious albums. This one — a tribute to the early, more freely swinging recordings of the inimitable Billie Holiday, is played with equally matchless style by saxophonist Scott Hamilton. The album, produced by Duke Robillard, displays the versatility and impeccable taste that Hamilton has been sharing for decades.” By Greg Victor Parcbench.com

“Give a listen to Remembering Billie and you will hear one of the best of the players in this tradition, the aforementioned Mr. Hamilton… Producer Duke Robillard contributes his guitar mastery… Hamilton can caress a ballad and swing his forever off with the best of them…Put it all together and the result is pure listening pleasure” by Joseph Lang New Jersey Jazz

“It's his first effort for Duke Robillard's Blue Duchess Records…it's a splendid effort that captures the 58-year-old Hamilton in prime, relaxed form, reminding those who need to be reminded that few tenor players swing with his consummate ease, or cut to the emotional heart of a song as consistently” by Lloyd Sachs WDCB Chicago

“Scott Hamilton is swinging on this dedication to the music sung by Billie Holiday. His warm tone on sax is mesmerizing.” By D. Oscar Groomes O’s Place Jazz Magazine

“With Hamilton blowing it hot, cool and sweet, the listener is in for a rare musical Holiday that expertly recalls Lady Day’s way with a song.?” Eric Feber, THE VIRGINIAN-PILOT......  http://www.cdbaby.com/cd/scotthamilton3

Remembering Billie

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Mighty Blue Kings - Meet Me In Uptown

Styles: Jump Blues, Swing
Label: R-Jay
Released: 1996
File: mp3 @320K/s
Size: 96,6 MB
Time: 42:01
Art: front

1. Jumpin' At The Green Mill - 4:06
2. Baby Drives Me Wild - 2:18
3. Grinnin' Like A Chessy Cat - 3:27
4. Loose Lips - 2:02
5. Cadillac Boogie - 3:13
6. Buzz Buzz Buzz - 3:07
7. Big Mamou - 3:32
8. Honey Chile Jump - 3:03
9. Spark Of My Life - 4:19
10. In The Night - 3:36
11. Meet Me In Uptown - 2:59
12. Rag Mop - 3:18
13. Pink Cadillac - 2:24
14. Tenor Madness - 0:30

Personnel:
Gareth Best - Guitar
Ross Bon - Vocals
Bob Carter - Drums
Donny Nichilo - Piano
Jimmy Sutton - Bass
Jonathan Doyle - Sax (Baritone), Sax (Tenor)

Notes: One of the ealy classic albums from The Mighty Blue Kings ... Drawing from jazz, soul and early R&B rhythms; creating exciting and vital energy. Your feet just can't stop tapping. Talk about rich vocals backed by a superb rhythm section.
Yet another band to emerge out of the '90s swing revival scene, but these guys came out before Brian Setzer hit it big, before the movie Swingers was ever scripted and before those Gap ads taught us how to "Jump, Jive an' Wail." It's safe to say that Chicago's Mighty Blue Kings were ahead of their time before any trend bandwagon hit. And with their debut Meet Me in Uptown, these guys are playing smooth without any big-budget production or high energy. Instead, this record has more of a laid-back, bluesy feel with production that sounds as if it was recorded in the 1940s. But it's not like this album is undanceable -- it still swings hard. And with that, the Mighty Blue Kings prove that a modern-day swing band can capture the authenticity of how the music was meant to sound.

Meet Me In Uptown

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Barbara Levy Daniels - Love Lost And Found

Size: 118,2 MB
Time: 51:11
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. It Could Happen To You (3:31)
02. Say It Isn't So (3:49)
03. My Heart Stood Still (3:42)
04. I Got Lost In His Arms (4:10)
05. Mean To Me (3:34)
06. It's The Talk Of The Town (4:06)
07. Moonglow (3:15)
08. Willow Weep For Me (5:13)
09. Comes Love (3:44)
10. Where Or When (3:51)
11. The Nearness Of You (4:52)
12. There Will Never Be Another You (2:40)
13. For All We Know (4:37)

Ray Charles heard Barbara Levy Daniels sing when she was only 12 years old. when he was asked by the president of ABC Paramount Records to listen in as she auditioned for a label deal. Charles said, "Sign her right away", and they did.

Over the next few years, Barbara Lyons (as she was called then) traveled from her home in Buffalo to NYC where she performed and recorded singles written by Carole King and arranged by Dick Wess ("Mack the Knife"), among other Brill Building luminaries. She also recorded a children's album for Chubby Jackson, Woody Herman's bass player.

After taking a break from performing, Barbara celebrated her return with the release of her CD titled "They're Writing Songs Of Love". That was followed by her second album, "Peel Me a Grape". Both records received rave reviews.

She performs regularly, having graced stages as nearby as NY State and as distant as Cuba and Vietnam.
Barbara has studied with music giants Sweet Honey in the Rock, Sheila Jordan, Mark Murphy, Janet Planet, and presently with Nancy Kelly.
"It's been a pure joy to have Nancy Kelly as my mentor and producer, along with the great John DiMartino, as arranger and musical director. I look forward to working on future projects with them", says Barbara.

Love Lost And Found

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Jesse Peters - Swingtime

Size: 92,8 MB
Time: 40:20
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz/Pop/Soul
Art: Front

01. Intro: 1952 (2:22)
02. The Way I Swing (3:31)
03. Ace Up My Sleeve (3:37)
04. One More Day (3:41)
05. Casino Life (3:56)
06. Love Is Real (Feat. The Shiloh Baptist Choir) (3:26)
07. Curls (Feat. Jenivere Peters & Lizzy Hoyt) (2:46)
08. Hands Off (2:57)
09. Side One: Set Break Blues (3:21)
10. Side Two: For The Love (2:19)
11. Side Three: Dear Anonymous (4:01)
12. Coda: You And Me (Feat. Nuela Charles) (4:17)

The new album SwingTime from Jesse Peters is summed up in the radio-style intro: “an hour of the hippest jazz, the coolest blues and the sweetest soul.” Presented as an early 1960s radio show, this is a record that’s not afraid to explore jazz as pop music, balancing the past and the present effortlessly. Jesse moves from hand clapping jive to heartfelt ballads to foot-stomping gospel-inspired soul with confidence and swagger. Featuring collaborations with alt-soul artist Nuela Charles, Celtic songstress LIzzy Hoyt, and the Shiloh Baptist Choir.

In the world of jazz, there are two types of performers, those who play for themselves, and those who play for their audience, Jesse is definitely the latter. With his soul bared at each and every performance his musical sincerity draws in anyone willing to let go and come along for the ride. Textures that honor Jesse’s great influences like Frank Sinatra and Tony Bennett are fused into the modern sound that Jesse creates, and recreates every time he sits in front of a piano and microphone. Blessed with a natural ability to convey both brilliant musicality, and true emotion with his voice, Jesse draws on life and tradition to craft the future. If this wasn’t enough, Jesse has become one of Canada’s most recognizable jazz pianists. The combination of these two talents creates a recipe for excitement, exploration, and interaction that has left audiences across North America standing in the aisles and screaming for more. Said one audience member, "They play exactly the kind of soulful, often rowdy, jazz I love."

He has garnered rave reviews as a singer and songwriter from distinguished jazz artists Ingrid Jensen and Diana Krall. By the age of 21, his group, The Peters Drury Trio, had released two very successful jazz recordings and were distributed in Canada, the United States as well as in Hong Kong. Over the years, he has been featured in print media, on televison and on national and international radio. Jesse is also known as the face and voice of Edmonton-based funksoul artist Paramedic. Both Paramedic's debut album and sophomore album were nominated for Western Canadian Music Awards (2006 and 2009).

Swingtime

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Kings Cross Hot Club - S/T

Bitrate: 320K/s
Time: 49:06
Size: 112.4 MB
Styles: Gypsy swing
Year: 2012
Art: Front

[2:58] 1. Them There Eyes
[3:57] 2. Bei Mir Bist Du Schon
[3:14] 3. Midnight In Moscow
[3:10] 4. Go My Road
[2:32] 5. Hans 'chi
[3:09] 6. I'll See You In My Dreams
[5:55] 7. Besame Mucho
[3:53] 8. Milko
[4:49] 9. Nature Boy
[5:22] 10. Oriental Shuffle
[2:12] 11. I Found A New Baby
[3:48] 12. Russian Lullaby
[4:01] 13. Tchavalo Swing

Since its inception over ten years ago "The Kings Cross Hot Club" has evolved into a unique collective of musicians, with a focus on Gypsy swing, jazz manouche and swing musette typical of the period 1925 to 1950.

Bruce Beach - Rhythm Guitar; Dave Ahmed/Barrington Meyer - Lead Guitar; Sam Lasserson - Double Bass; Kit Massey - Violin; Tom Mason - Violin & Double Bass; Tom Deakin - Trumpet; Mirek Salmon - Accordionl Alexander Barrow - Accordion; Alice Mary Williamson - Clarinet; Dave - Tuba & Clarinet; Oliver Carter-Wakefield - Drums; Katja Prudinsky - Vocals; Lucy John Paul - Vocals.

Kings Cross Hotclub

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The Pizzarelli Boys - Sunday At Pete's

Bitrate: 320K/s
Time: 61:22
Size: 140.5 MB
Styles: Swing, Guitar jazz
Year: 2007
Art: Front

[ 5:10] 1. Sweet Sue
[ 3:48] 2. Alabamy Bound
[ 4:47] 3. Whispering
[ 3:25] 4. When You're Smiling
[ 3:59] 5. Bye Bye Blues
[ 2:43] 6. When The Blue Of The Night
[ 2:58] 7. In The Good Old Summer Time
[ 3:24] 8. A Little World Called Home
[ 2:52] 9. Red Wing
[ 2:46] 10. You're My Girl
[ 4:57] 11. Rosetta
[ 3:22] 12. Dardanella
[ 5:04] 13. Yes Sir, That's My Baby
[12:00] 14. Night On Garrett Mountain

The Pizzarelli family treasured musical gatherings at home from the time the patriarch was just starting to play guitar, where he learned a lot from his two uncles about playing rhythm guitar. Long an accomplished sideman, soloist, and bandleader, Bucky Pizzarelli has performed and recorded with his sons John and Martin on a number of occasions over the years, while John has had Martin as the bassist in his group for a number of years. But this is the first family recording date with all three present and not a larger supporting cast, except for drummer Tony Tedesco, who is so well known to them he is considered family. But this time around, it is John playing electric lead guitar, with his father sticking to playing acoustic rhythm guitar. The songs selected date back many decades to the early days of the swing era and earlier. The breezy treatment of "Alabamy Bound" suggest a train barreling down the tracks, while a wave of nostalgia is awash in the swinging setting of "In the Good Old Summertime" and the upbeat western swing setting of "Red Wing." The one new composition is "Night on Garrett Mountain," an extended blues evidently conjured up during the recording session. It's obvious that the many jam sessions held at Uncle Pete's paid numerous musical dividends, with the listener reaping the rewards. ~ Ken Dryden

Recording information: 01/12/2007/01/13/2007.

Bucky Pizzarelli - guitar; John Pizzarelli - guitar; Martin Pizzarelli - bass guitar; Also: Tony Tedesco

Sunday At Pete's

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Barb Jungr - Walking In The Sun

Bitrate: 320K/s
Time: 54:07
Size: 123.9 MB
Styles: Jazz-blues vocals
Year: 2009
Art: Front

[2:52] 1. Who Do You Love
[4:30] 2. Trouble In Mind
[4:05] 3. Beautiful Life
[3:53] 4. Drink Me Up
[3:43] 5. Walking In Memphis
[4:08] 6. Walking In The Sun
[5:52] 7. Rainy Day
[2:56] 8. Take Out Some Insurance
[4:14] 9. Run On For A Long Time God's Song
[4:09] 10. Blind McTell
[5:31] 11. Many Rivers To Cross
[4:00] 12. Heading Home
[4:07] 13. Way Over Yonder

Drawing on influences from a wide range of musical traditions, Jungr sets her stunning voice at the emotional centre of powerful gospel and blues lyrics. Music lovers will appreciate material by such great writers as Jimmy Reed, Carole King and Randy Newman as well as a new song by Eric Bibb (Heading Home). The album also features some exciting new self-penned material including the positive message of Beautiful Life.

With sell-out shows from Australia to New York, she has featured several times on BBC Television including an appearance alongside KT Tunstall, Odetta and Billy Bragg in the recent Bob Dylan Tribute concert. Co-produced by Calum Malcolm and Barb, featured musicians include vintage keyboard and organ virtuoso Jessica Lauren and jazz pianist Jenny Carr. Following her acclaimed, song-styled workings of Dylan, Jacques Brel and Elvis Presley this new album is a celebration of material Barb has held in her heart since she first fell in love with music. This is perhaps Barb Jungr’s strongest and most accessible outing to date with a strong message, wonderful instrumentation and plenty of groove.

Barb Jungr (vocals, background vocals); Gabriella Swallow (cello); Jenny Carr (piano); Steve Watts (bass instrument); Eric Bibb (guitar); Jessica Lauren (harmonica, piano, organ, background vocals); Roy Dodds (drums, percussion).

Recording information: The Way Studios, Hackney, England (05/01/2006-05/03/2006).

Walking In The Sun

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Adia Ledbetter - Take 2: Rendezvous With Yesterdays

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 43:10
Size: 98,8 MB
Art: Front

(3:27)  1. Closer/ You and the Night and the Music
(4:33)  2. Darn that Dream
(4:38)  3. Beautiful Love
(5:42)  4. Can't Help Lovin Dat' Man of Mine
(2:52)  5. I Can't Give You Anything but Love
(4:24)  6. Lady Bird
(5:29)  7. I'm Gonna Laugh You Right Out of My Life
(5:05)  8. Rendezvous with Yesterdays
(4:05)  9. These Foolish Things
(2:52) 10. Only One

...Take 2: Rendezvous With Yesterday, the sophomore effort by Adia Ledbetter, returns to the spotlight one of the most gifted young vocalists in jazz today. Following up on the alluring promise of her well-received debut disc, First Take, Ledbetter demonstrates her continuing development not only as a superb singer, but as a talented lyricist/arranger/composer as well. A native of Durham, North Carolina, Adia began her love affair with music, like many jazz greats, singing in her church choir and developed her God given talents in school, receiving her BA from North Carolina Central University and finally earning a Masters Degree in the Queens College Jazz Studies program founded by NEA Jazz Master Jimmy Heath (then headed by Heath’s successor trumpeter Michael Mossman), studying improvisation with saxophonist Antonio Hart. Further tutelage with young veterans Lenora Zenzali Helm and J.D. Walters has invested her sound with a new found maturity that is sure to garner her the attention she now so richly deserves.

Following recognition as an outstanding performer by Downbeat magazine in 2006, Ledbetter was chosen to participate in the Kennedy Center Jazz Ahead International Jazz Residency and Performance Program. She has since gone on to spread her sound in concert and club appearances in New York City, Washington, DC. and various venues in her home state of North Carolina. The album First Take featured the singer with Generations, a straight ahead quartet that included veteran artists, bassist Freeman Ledbetter and the late pianist Yusuf Salim (an important mentor to Ledbetter and many other young Durhamites). On Take Two the vocalist fronts a new group with pianist Ed Paolantonio, drummer Orlandus Perry and Freeman Ledbetter back on bass. In addition there are two intimate duet performances with guitarist Justin C. Martin.

Take 2: Rendezvous With Yesterday opens with a medley of Ledbetter’s own composition “Closer” and the Great American Songbook classic “You And The Night And The Music” -- an ingenious bringing together of the old and the new that is at the very heart of Adia’s musical personality. Opening with “Closer,” a seductive tome that begins as an enticing voice-bass duet with the composer singing over a Latin tinged habanera rhythm before becoming a soulfully intoned straight ahead swinger that segues seamlessly into the Arthur Schwartz/Howard Dietz standard with the shared message of two people brought together by the sounds of music. The rhythm section cooking, Ledbetter sings with accomplished authority, sharing the spotlight with pianist Paolantonio, who solos convincingly.........More  http://www.katesmithpromotions.com/artists/AdiaLedbetter.html

Take 2: Rendezvous With Yesterdays

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