John Ellis - It's You I Like

Styles: Post-Bop
Year: 2012
File: MP3@320K/s
Time: 58:57
Size: 135,0 MB
Art: Front

(7:08)  1. What Do You Do?
(9:22)  2. Memory Lane
(5:28)  3. It's You I Like
(8:05)  4. Everything Means Nothing To Me
(7:57)  5. Let's Think Of Something To Do
(2:27)  6. Because We're Kids
(4:51)  7. You Are Special
(3:36)  8. Waltz # 1
(6:59)  9. It's Such A Good Feeling
(2:59) 10. Won't You Be My Neighbor

Melody and groove are the watchwords on John Ellis' masterful Criss Cross debut, which mixes optimistic songs composed by the iconic children's television host, Fred (a.k.a. 'Mister') Rogers, himself a fine jazz pianist, and dark ones by the late singer-songwriter Elliott Smith. Joined by New York A-listers Mike Moreno (guitar), Aaron Goldberg (piano), Matt Penman (bass, and Rodney Green (drums), Ellis - playing mostly tenor saxophone and a bit of bass clarinet - addresses the repertoire with a surefooted time feel, gorgeous tone,and abiding melodicism. ~ Editorial Reviews   http://www.amazon.com/Its-You-Like-John-Ellis/dp/B007GNMIK4

It's You I Like

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Sue Maskaleris - Bring Nothing But Your Heart

Size: 110,8 MB
Time: 47:57
File: MP3 @ 320K/s
Released: 2013
Styles: Brazilian Jazz, Samba, Bossa Nova
Label: Jazilian Records
Art: Front

01. Bring Nothing But Your Heart (Feat. 'Doc' Halliday) (3:56)
02. The Big Tiri (Feat. Horacio 'El Negro' Hernandez) (3:38)
03. Lush Life (Feat. William Galison) (5:07)
04. Two Ducklings (Dois Patinhos) (2:57)
05. So Sacred The Sand (4:46)
06. O.C.D. (Feat. Horacio 'El Negro' Hernandez) (4:28)
07. Ready To Love Again (4:03)
08. A Blast Of Joy (6:06)
09. Kisses From Ivan (Feat. Mark Egan) (4:04)
10. Baiao Da Aclimaçao (2:56)
11. The Meaning (Peace & Love) (4:19)
12. Two Ducklings (Reprise) (Feat. Steve Sacks) (1:31)

Dripping with Afro-Cuban crescendos and trussed in sexy samba baia(os, Bring Nothing But Your Heart from vocalist and multi-instrumentalist Sue Maskaleris is a rush of endorphin-induced romps. Produced by Sue and Stephen Maskaleris, Bring Nothing But Your Heart is a cornucopia of party tunes groomed with Latin accents.

The recording bursts open with the Latin grooves of the title track traversing into the funky tinted rhythms of "The Big Tiri" as Maskaleris joins in the party atmosphere with a combination of lyrical and scat verses. Smooth and balmy, Maskaleris' treatment of Billy Strayhorn's "Lush Life" displays her vocal chops as a moving singer while the harmonious harmonica solo creates a dreamy escape.

The album maintains its dreamy versing with the wispy ethers of "Two Ducklings" keeled by a soft samba rhythm, while "So Sacred the Sand" is seamed in a bossa nova stitching. Both tracks showcase the lithesome tone of Maskaleris' register, which add shimmer and warmth to the melodies. The blissful vibe emanating from the melodic cuts of "O.C.D." feature the lyrical flutters of Oriente Lopez's flute and the nimble movements of Horacio Hernandez on drums.

The fast paced "Ready to Love Again" has a Brazilian based rhythm which switches gears into the cruising samba beats of "A Blast of Joy" fomenting small eruptions in the horns and producing a gently froth brushing over the wavy percussions and ruminating harmonica. It's a tune made for sipping cocktails while engaged in an enjoyable conversation.

The balladry sway of "Kisses from Ivan" have a classic pop iridescence shingled in lightly sprinkled strings which are tossed into the festive sprints racking "Baião da Aclimacão" shrouded in frilly chimes and jaunty beats. Keeping up the upbeat atmosphere are the boppish grooves of "The Meaning (Peace and Love)" and the flighty sensations moving across "Two Ducklings" which Maskaleris reprises at the end of the album.

Maskaleris' affinity for Brazilian music is thoroughly explored on Bring Nothing But Your Heart. Her talent ranges from singer and songwriter to being a multi-instrumentalist demonstrating her diversity and willingness to dabble in every aspect of her music. She puts her heart, her soul, and her love of beautiful sounding music into her recording making for a positively charged album.

Sue Maskaleris - vocals, piano, keyboards, violins, guitar, bass, percussion, lyrics, arrangements, compositions, and production

Bring Nothing But Your Heart

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Mark Growden & The New Orleans Heavies - In Velvet

Size: 102,8 MB
Time: 44:37
File: MP3 @ 320K/s
Released: 2013
Styles: New Orleans Jazz/Soul
Art: Front

01. Drivin' Into The Sunrise (3:16)
02. The Love Of It All (5:25)
03. Jumpin' Judy (3:08)
04. Something Within Me (5:00)
05. Old Lady From Brewster (3:00)
06. Paris, Texas (6:00)
07. Sunday Afternoon (3:54)
08. You Really Got A Hold On Me (5:12)
09. Old Dutch Davis (3:41)
10. That's All Right (3:41)
11. Here's To You (2:14)

Mark Growden is a singer, multi-instrumentalist, composer, record producer and visual artist. From a small mountain community in NE California, Growden has toured the the US extensively and has released several critically acclaimed albums, including Saint Judas, which was ranked in the 2010 Village Voice Critics Poll. His new CD "In Velvet" reflects his year long residency in New Orleans. His all star band, the New Orleans Heavies live up to the name pumping up Growden's original soulful music with a funky horn section lead by legendary trumpeter Wendell Brunious.

Personnel:
LaTosha Brown on voice
Wendell Brunious on trumpet
Loren Pickford on alto sax
Eric Traub on tenor sax
Larry Sieberth on piano
Myles Boisen on guitar
Peter Harris on upright bass
Charlie Kohlmeyer on drums
Mark Growden on voice and bari sax

In Velvet

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David Murray & Dave Burrell - Windward Passages

Bitrate: 320K/s
Time: 68:31
Size: 156.9 MB
Styles: Saxophone/piano jazz
Year: 2007
Art: Front

[ 8:23] 1. Sorrow Song
[ 7:56] 2. It Hurts So Much To See
[11:29] 3. Naima
[ 5:21] 4. Cela Me Va
[ 6:02] 5. The Crave
[ 9:16] 6. Zanzibar Blue
[ 6:06] 7. Conversation With Our Mothers
[13:55] 8. Naima 2

Gifted reedman David Murray is a provocative improviser whose warmth, passion and facile technique coaxes the most from his instruments. On this 1993 date, he plays tenor sax (bass clarinet on one track) with pianist Dave Burrell, a long-time cohort with similar penchant for creating exciting leaps of virtuosity. Familiarity breeds better music, and contributes to make this intimate duo recording a compelling listen. Both players have separately shown abilities to wax lyrical, subtly mine the blues, and stretch beyond the outer edges of melody. Together, they're unmatchable. Murray's conversational style, expertly comped by Burrell, ranges from caressing to blistery and powerful. Burrell's improvisations, sometimes influenced by a Pullen-like percussive approach, add variety to the melodiousness of this outing comprising three standards and five originals. Some tracks are reminiscent of roiling duo explorations of the late Pullen and Adams, and it's enthralling to hear that tradition continue. While Burrell excels, it's Murray's instantly-recognizable, thrusting, and bristly style that prevails on this A-plus album. ~Nancy Ann Lee

Windward Passages

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Marian McPartland & Steely Dan - Marian McPartland's Piano Jazz Radio Broadcast

Bitrate: 320K/s
Time: 51:09
Size: 117.1 MB
Styles: Jazz, Rock
Year: 2005
Art: Front

[1:39] 1. Conversation 1
[2:42] 2. Limbo Jazz
[5:07] 3. Conversation 2
[3:50] 4. Josie
[3:07] 5. Conversation 3
[3:07] 6. Mood Indigo
[0:13] 7. Conversation 4
[3:21] 8. Star Eyes
[3:38] 9. Conversation 5
[3:26] 10. Hesitation Blues
[5:17] 11. Conversation 6
[3:47] 12. Things Ain't What They Used To Be
[1:41] 13. Conversation 7
[4:44] 14. Chain Lightning
[1:51] 15. Conversation 8
[3:30] 16. Black Friday

It isn't hard to imagine how some jazz purists will react upon seeing the name Steely Dan on one of Marian McPartland's Piano Jazz releases; they're likely to ask, "What, in God's name, is a pop/rock group doing in McPartland's presence?" But even though Steely Dan isn't a jazz act per se, they have always had jazz influences -- and it would be a mistake to think of this CD as strictly a pop/rock disc. Actually, the original material of Steely Dan leaders Donald Fagen (vocals, acoustic piano) and Walter Becker (electric guitar) takes somewhat of a back seat to instrumental straight-ahead jazz when they join forces with pianist McPartland, bassist Jay Leonhart and drummer Keith Carlock. Some longtime Steely Dan enthusiasts might be disappointed to know that only three Fagen/Becker songs are performed: "Josie," "Black Friday" and "Chain Lightning" -- you won't hear "Peg," "Do It Again," "Rikki, Don't Lost That Number," "Deacon Blues," "Hey Nineteen" or "Reeling in the Years." Nonetheless, there are many enjoyable moments, and McPartland has no problem finding common ground with Fagen and Becker -- common ground that includes a healthy appreciation of Duke Ellington's repertoire. Between three songs associated with the Duke ("Mood Indigo," Mercer Ellington's "Things Ain't What They Used to Be" and the lesser known "Limbo Jazz"), W.C. Handy's "Hesitation Blues" and the standard "Star Eyes," Steely Dan's encounter with McPartland is dominated by straight-ahead jazz -- not the jazz-influenced, soul-minded pop/rock that made Steely Dan famous during their '70s heyday. This intriguing CD may not have as many Steely Dan classics as some of their die-hard fans would like, but their appearance on Piano Jazz is full of pleasant surprises and reminds us just how much jazz means to '70s pop/rock icons. ~ Alex Henderson

Marian McPartland (piano); Donald Fagen (vocals, piano); Walter Becker (guitar); Jay Leonhart (bass guitar); Keith Carlock (drums).

Marian McPartland's Piano Jazz Radio Broadcast

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Steve Lawrence - Here's Steve Lawrence

Bitrate: 320K/s
Time: 27:20
Size: 62.6 MB
Styles: Vocal
Year: 2008/2013
Art: Front

[3:09] 1. Come Rain Or Come Shine
[3:07] 2. Like Someone In Love
[3:08] 3. My Romance
[2:30] 4. Fraulein
[1:34] 5. Sunny Side Up
[2:29] 6. This Heart Of Mine
[3:36] 7. Makin' Whoopee
[2:26] 8. Then I'll Be Tired Of You
[2:57] 9. If I Had You
[2:20] 10. Put 'em In A Box, Tie 'em With A Ribbon

As a solo artist and in a duo with his wife Eydie Gorme, Steve Lawrence enjoyed a successful singing career that stretched well past half a century. He placed hits in the best-seller charts for over 25 years and used that as the basis for becoming a nightclub and concert headliner. Starting out in the post-swing, pre-rock & roll era of the early '50s, he maintained his support for traditional pop, which found him bucking popular musical trends for much of his career. But in his maturity he could claim to be the handpicked successor to Frank Sinatra as the music's standard-bearer. Along the way, he also found time to write songs, act in films, star in Broadway musicals, and produce Emmy-winning television specials as well as hosting a few TV series.

Here's Steve Lawrence

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Abbey Lincoln - Abbey Sings Billie (2-disc set)

Finally, the two halves of Abbey Lincoln's two-day, Billie Holiday tribute recording sessions are complete in one set. Originally issued separately, the November 1987 dates features Ms. Lincoln accompanied by drummer Mark Johnson, bassist Tarik Shah, Harold Vick on tenor, and pianist James Weidman. These are two of the singer's finest recordings and, if not groundbreaking, are certainly soul-stirring and aesthetically definitive. ~Thom Jurek

Recorded at the Universal Jazz Coalition, New York, New York on November 6 & 7, 1987.

Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Album: Abbey Sings Billie (Disc 1)
Bitrate: 320K/s
Time: 57:06
Size: 130.7 MB
Styles: Vocal jazz
Year: 1987/2001

[ 3:18] 1. What A Little Moonlight Can Do
[ 2:51] 2. I Only Have Eyes For You
[ 5:09] 3. Gloomy Sunday
[ 4:27] 4. Crazy He Calls Me
[ 6:16] 5. Strange Fruit
[ 5:42] 6. Lover Man
[ 4:41] 7. These Foolish Things
[ 5:20] 8. I'll Be Seeing You
[10:18] 9. Soul Eyes
[ 9:01] 10. Ill Wind

Abbey Sings Billie (Disc 1)

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Album: Abbey Sings Billie (Disc 2)
Bitrate: 320K/s
Time: 40:12
Size: 92.0 MB
Styles: Vocal jazz
Year: 1987/2001
Art: Front

[7:02] 1. Gimme A Pigfoot
[6:58] 2. No More
[5:22] 3. God Bless The Child
[6:22] 4. Don't Explain
[5:28] 5. For Heaven's Sake
[3:20] 6. Please Don't Talk About Me (When I'm Gone)
[5:36] 7. For All We Know

Abbey Sings Billie (Disc 2)

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Chad Eby - Broken Shadows

Bitrate: 320K/s
Time: 63:41
Size: 145.8 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[5:08] 1. Tip Toe
[2:32] 2. Mira
[6:01] 3. Epitaph I Doo-Wee-Inn
[6:44] 4. Orange Was The Color Of Her Dress, Then Blue Silk
[3:18] 5. Little You
[4:03] 6. Epitaph II Line For Lackritz
[7:05] 7. I'm Still Here
[5:02] 8. Sentinel
[4:19] 9. Broken Shadows
[5:22] 10. Sunset And The Mockingbird
[3:55] 11. Epitaph III J-Mac
[5:45] 12. Epitaph IV The Kid From Albany
[4:23] 13. The Single Petal Of A Rose

This trio session, with bassist Steve Haines and drummer Jason Marsalis packs Eby's music aspirations from varying musical inspirations. Opening with Thad Jones' "Tip Top," Eby sports a soprano saxophone sound acquired from John Coltrane circa 1961. That unadorned sound, seemingly simple to the ear, reveals Eby's mastery of the very difficult straight horn. He returns to the soprano on his original "Little You," altering his tone, rejuvenating the sixties sound into a modern chamber feel and then morphing once again on his tribute to Steve Lacy on "Epitaph II: Line For Lackritz" with a more acerbic tone.

The "Epitaph Suite," four commissioned compositions, allows Eby to pay homage to Dewey Redman, Ray Charles, Jackie McLean and Lacy. Each piece displays a little of the honoree, but is more telling of Eby's sound. They can dribble an enticing blues for Charles, slowly defrosting a sexy tenor sound or cleanly snap off notes in praise to McLean without sounding derivative or clichéd.

Saxophonist Branford Marsalis joins Eby's trio on two tracks. The two tenors reprise Marsalis' duel with Joe Lovano on "The Sentinel," from The Dark Keys (Columbia, 1996); the two also interlock horns on the Redman tribute, "Epitaph I: Doo-We-Inn." Like Marsalis, Eby's tenor tone can be boundless, blues-inflected, and wholly satisfying. These two players are indeed simpatico. ~Mark Corroto

Recording information: The Rubber Room, Chapel Hill, NC.

Chad Eby (saxophone, tenor saxophone); Doug Wamble (guitar); Jason Marsalis (drums).

Broken Shadows

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Karen Robinson - Karen Robinson With: Mike Cowie, Larry Bjornson, David Burton & Holly Arsenault

Size: 100,1 MB
Time: 43:27
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. Cats And Crows (5:07)
02. Play It Softly (3:43)
03. Raven's Wing (4:53)
04. When I Sing The Blues (5:06)
05. She's A Keeper (2:57)
06. Know When To Fly (3:11)
07. Pen In Hand (4:20)
08. Whispers (4:35)
09. Cold Anger On (4:28)
10. Blues Bird (5:04)

Karen's first CD of original jazz is "Karen Robinson WITH". The launch event sold out within a few days!

The CD was produced by Mike Cowie, a gifted musician, arranger and producer, and features Karen's vocals, Mike on muted trumpet, Larry Bjornson on upright bass, Dave Burton on drums, Holly Arsenault on piano, Chris Mitchell on flute and alto sax, Danny Martin on trombone, Jeff Reilly on bass clarinet, Doris Mason and Lisa MacDougall doing back-up vocals, and Kevin Breit on guitar.

Producer Mike Cowie said, “I don’t produce albums for other singers any more, but these are terrific songs! I had to do this. Everyone who came to the project agreed. It all comes down to the songs, and these are all great songs. Some are way beyond great. Like late Joni Mitchell. Great melodies, great performances. Is it jazz or folk rock? It’s somewhere in the middle. The album is very alive and musical, more dynamic than most we hear today, and with all the faults and curves. It is real, honest music. Every song is different. We used minimal compression, only what was needed to stay in the game without losing the reality, and I am thrilled. It all starts with the songs ... and Karen’s songs are brilliant. Karen delivers every song exquisitely!”

Karen Robinson With

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Jessica Riippa - Calm My Nerves

Size: 70,0 MB
Time: 30:27
File: MP3 @ 320K/s
Released: 2013
Styles: Jazzy Blues
Art: Front

01. I Can't Remember (4:18)
02. The Lake (3:11)
03. Just Alone (3:27)
04. I Said Yes (3:54)
05. Dreamer (5:04)
06. Ja Veit (3:51)
07. Calm My Nerves (2:42)
08. Complicated (3:57)

The album "Calm my nerves" is singer/songwriter Jessica Riippas debut album. Being her first album, it is filled with music both old and new, and varying in musical style. Jessica moves from bluesy jazz to songs she originally composed for theatre, but later finding their way into her own musical interpretation, to her own story.

Calm My Nerves

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The Canadian Brass - Swingtime!

Bitrate: 320K/s
Time: 58:20
Size: 133.5 MB
Styles: Big band
Year: 1996
Art: Front

[5:03] 1. Artistry In Rhythm
[4:28] 2. Blue Rondo A La Turk
[3:11] 3. (Back Home Again In) Indiana
[2:59] 4. Night And Day
[5:02] 5. 'round About Midnight
[3:19] 6. At The Woodchopper's Ball
[3:43] 7. The Lady Is A Tramp
[2:46] 8. Sugar Blues
[3:32] 9. The Man I Love
[2:46] 10. Whatever Happened To The Dream
[9:10] 11. Concierto De Aranjez
[3:33] 12. I Found Love
[4:02] 13. Ellington Medley
[4:39] 14. One O'clock Jump

This is an odd if mostly intriguing set by the Canadian Brass, which is comprised of two trumpets, trombone, French horn, and tuba. On most of the selections, they are joined by a full band that includes keyboardist Warren Bernhardt, guitarist Gene Bertoncini, up to 11 additional horns (arranged by Don Sebesky), and even occasionally six-strings. The inventive arrangements make such songs as "Blue Rondo a la Turk," "Indiana," "At the Woodchopper's Ball," and "One O'Clock Jump" quite colorful and full of surprises. It is particularly odd that there are three selections that have the Canadian Brass adding their parts to historic recordings: Zoot Sims in 1950 playing "Night and Day," the 1954 Gerry Mulligan Quartet on "The Lady Is a Tramp," and Roy Eldridge The Zoot Sims Quartet, Gerry Mulligan Quartet and Roy Eldridge recordings used on SWINGTIME! date from the 1950s. Canadian Brass created new arrangements by overdubbing parts onto existing recordings of "Night And Day" by Zoot Sims (recorded in 1950), "The Lady Is A Tramp" by Gerry Mulligan (June 3, 1954) and "The Man I Love" by Roy Eldridge (June 9, 1950).

Recording information: Clinton Studio A, New York, NY (04/10/1995-04/26/1995); Soundtrack Studio A, New York, NY (04/10/1995-04/26/1995).

Frederic Mills, Ronald Romm (trumpet); David Ohanian (French horn); Eugene Watts (trombone); Charles Daellenbach (tuba). Zoot Sims Quartet: Zoot Sims (tenor saxophone); Gerry Wiggins (piano); Pierre Michelot (bass); Kenny Clarke (drums). Gerry Mulligan Quartet: Gerry Mulligan (baritone saxophone); Bob Brookmeyer (valve trombone); Red Mitchell (bass); Frank Isola (drums). Additional personnel: Gene Bertoncini, Joe Taylor (guitar); Belinda Whitney-Barratt, Natalie Cenovia Cummins, Karen Karlsrud, Evan Johnson (violin); Crystal Garner (viola); Maria Kitsopoulos (cello); Lawrence Feldman (flute, piccolo, clarinet, alto saxophone); Chuck Wilson (flute, clarinet, alto saxophone); Dave Tofani (flute, clarinet, tenor saxophone); Roger Rosenberg (flute, bass clarinet, baritone saxophone); Richard Stoltzman (clarinet); Ken Hitchcock (clarinet, bass clarinet, tenor saxophone); Zoot Sims (tenor saxophone); Rick Baptiste, Tony Kadleck, Neal Balm, Roy Eldridge (trumpet); Jeff Lang, Peter Gordon, Bob Carlise (French horn); Keith O'Quinn, Larry Farrell (trombone); Paul Faulise (bass trombone); Dick Hyman (piano); Warren Bernhardt (piano, keyboards); John Miller, Pierre Michelot (bass); Ronnie Zito, Ed Shaughnessy (drums); Gordon Gottlieb, Joe Passaro (percussion).

Swingtime!

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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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