Brandy Clark - 12 Stories

Styles: Country
Year: 2012
File: MP3@320K/s
Time: 42:21
Size: 97,0 MB
Art: Front

(3:22)  1. Pray To Jesus
(3:37)  2. Crazy Women
(3:34)  3. What'll Keep Me Out Of Heaven
(3:31)  4. Get High
(3:36)  5. Hold My Hand
(3:16)  6. Stripes
(3:38)  7. In Some Corner
(3:29)  8. Take A Little Pill
(3:56)  9. Hungover
(3:22) 10. Illegitimate Children
(3:23) 11. The Day She Got Divorced
(3:31) 12. Just Like Him

Brandy releases her high anticipated, critically acclaimed debut record  "12 Stories" Oct 22. Rolling Stone describes it as "airtight craftsmanship, sly wit and precise detailing." Leading up to the release Brandy has been featured in Redbook, Billboard, Entertainment Weekly and New York Magazine. Kacey Musgraves is taking "Follow Your Arrow" to country radio. The single, which was written by Brandy, Kacey and Shane will also be performed on the 2013 CMA Awards! A big congrats go out to Brandy for her 2013 CMA Nomination! "Mama's Broken Heart" has been nominated for CMA Song of the Year.  The song, recorded by Miranda Lambert and co-written with Shane McAnally and Kacey Musgraves is also up for Single of the Year and Video of the Year. Brandy's debut album 12 Stories is available for presale at I Tunes and Amazon.com. The full length record, produced by Dave Brainard hits the shelves October 22 but if you are an early bird you can download the album for only $8.99 here!  Brandy is excited about having two songs on two different projects being released this week. Keith Urban's new album, Fuse  includes "Come Back to Me," written by Brandy, Shane McAnally and Trevor Rosen and Sheryl Crow's debut country record,  Easy features Brandy's song "Homecoming Queen," which was cowritten with Shane and Luke Laird.  http://brandyclarkmusic.com/

12 Stories

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Bucky Pizzarelli, John Bunch And Jay Leonhart - Manhattan Swing: A Visit With The Duke

Styles: Jazz
Year: 2006
File: MP3@320K/s
Time: 72:31
Size: 166,0 MB
Art: Front + Back

(8:15)  1. Do Nothin' till You Hear from Me
(5:27)  2. I'm Beginning to See the Light
(5:54)  3. Isfahan (From the Far East Suite)
(7:01)  4. Satin Doll
(6:22)  5. All Too Soon
(6:55)  6. Don't Get Around Much Anymore
(6:23)  7. Passion Flower
(7:26)  8. In A Mellow Tone
(6:53)  9. Black Butterfly
(6:32) 10. Take The
(5:18) 11. C Jam Blues

The guitar/piano/bass trio of Bucky Pizzarelli, John Bunch, and Jay Leonhart, who have also recorded together under the group name of New York Swing, have a grand time with this collection of favorites from the Duke Ellington songbook. The interplay between them as well as their solos are never less than first rate, especially on an unusually brisk take of "I'm Beginning to See the Light," a foot-tapping "Don't Get Around Much Anymore" that has the flavor of western swing, and a bluesy "All Too Soon." But the trio really come into their own on the slow ballads, with a romantic "Passion Flower" and a shimmering "Isfahan." Jay Leonhart's liner notes are entertaining anecdotes, even if the time frame given for his one opportunity to sit in with Ellington is off by at least 15 years. ~ Ken Dryden  http://www.allmusic.com/album/manhattan-swing-a-visit-with-the-duke-mw0000004237

Manhattan Swing: A Visit With The Duke

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Clare Teal - Live At Ebenezer Chapel

Size: 124,4 MB
Time: 54:01
File: MP3 @ 320K/s
Released: 2009/2013 USA
Styles: Vocal Jazz
Art: Front

01. Tea For Two (4:19)
02. Mountain Greenery (3:06)
03. Brave Face (5:00)
04. Teach Me Tonight (3:54)
05. Heber, The Receiver (3:11)
06. Circle Moon (4:43)
07. Shiny Stockings (3:40)
08. I Loves You Porgy (5:25)
09. Night And Day (3:05)
10. Blues In The Night (5:41)
11. In The Still Of The Night (5:28)
12. The Road Less Travelled (6:23)

Recorded in front of an intimate live audience at The Ebenezer Chapel one snowy night in February 2009. This album has a wonderful vibe and captures perfectly the joyous atmosphere of a very special evening.

Having developed an obsession with her grandmother's old Ella Fitzgerald and Billie Holiday 45s at a young age, critically acclaimed vocalist Clare Teal went onto become one of the biggest names on the U.K. contemporary jazz scene. Born in Kildwick, a tiny village near Yorkshire, in 1973, Teal learned to play the piano, clarinet, and electronic organ before studying music at Wolverhampton University, where she discovered her vocal abilities during an impromptu exam. After stints writing jingles and selling advertising space, she signed a deal with jazz specialty label Candid Records, where she released three albums, That's the Way It Is, Orsino's Songs, and The Road Less Travelled. In 2004, she landed the biggest-ever record contract by a U.K. jazz artist with Sony, and scored a Top 20 album with her major-label debut, Don't Talk. In 2005, she became a regular DJ on BBC Radio 2, hosting both the Big Band Special and Friday Night Is Music Night shows, and a year later, won the BBC Jazz Vocalist of the Year. Teal has since released three LPs, 2007's Paradisi Carousel, 2008's Get Happy, and 2009's Live at the Ebenezer Chapel, appeared on Helmut Lotti's Time to Swing, and is set to release her new studio album, Clare Teal Sings the Great British Songbook, in 2011. ~ Jon O'Brien

Live At Ebenezer Chapel

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Tony Monaco, Yosuke Onuma & Gene Jackson - Live At Cotton Club Japan

Size: 169,8 MB
Time: 74:01
File: MP3 @ 320K/s
Released: 2013
Styles: Contemporary Jazz, Soul Jazz, Hammond B3 Jazz
Art: Front

01. Answering Service ( 8:48)
02. Nice To Be With You ( 9:49)
03. Happy Play Ground ( 9:09)
04. Aglio E Olio ( 9:35)
05. Happy Sergio ( 9:55)
06. Called Love ( 7:49)
07. Slow Down Sagg (10:24)
08. I'll Remember Jimmy ( 8:28)

Tony Monaco is a leader in a modest revival of the Hammond B3 organ in jazz. As he has been with so many fledgling jazz organists, Jimmy Smith played a significant role in attracting Monaco to jazz and retaining his interest in the music. Monaco was 12 years old when he first heard Smith and, as a 16th birthday present, got a phone call from the organ giant. The culmination of this association came when Smith invited the young performer to join him at Smith's club. Monaco has also been fortunate to spend time with other jazz organ masters, including Hank Marr and Dr. Lonnie Smith. He started subbing for players, like Marr, in and around Columbus, OH, when he was just 16. Monaco has also been helped along by one of his peers, Joey DeFrancesco, who produced Monaco's first album, Burnin' Grooves, and joined the session on piano. Monaco added horns to his second album, Master Chops T, released in 2002, giving the Hammond organ player much more flexibility to the arrangements. It also allowed him to take full advantage of the rhythmic invention the electric organ allows its players to engage in. A live follow-up, Intimately Live, followed later that year. In addition to his albums as leader, Monaco has recorded with Eric Neymeyer and neo-bop guitarist Mark Elf. Monaco doesn't rely entirely on his jazz work to support his family. He and his brother run and own a concrete construction business. When not performing or building, Monaco listens to other masters of the organ, including Smith, Richard "Groove" Holmes, and Larry Goldings.

Live At Cotton Club Japan

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George Masso Sextet - C'est Magnifique!

Bitrate: 320K/s
Time: 73:04
Size: 167.3 MB
Styles: Trombone jazz, Dixieland
Year: 2000
Art: Front

[ 9:40] 1. It's De-Lovely
[10:46] 2. It's All Right With Me
[ 4:48] 3. Why Shouldn't I
[ 7:05] 4. What Is This Thing Called Love
[ 5:47] 5. I Love You, Samantha
[ 9:38] 6. Get Out Of Town
[ 8:40] 7. C'est Magnifique
[ 4:51] 8. Night And Day
[ 7:16] 9. Just One Of Those Things
[ 4:28] 10. Ballad For A Friend

Recorded live at the Hanse-Merkur Auditorium, Hamburg, Germany on March 6, 1999. The fine swing trombonist George Masso leads a top-notch sextet through seven Cole Porter songs on a spirited live date recorded in Hamburg, Germany. Masso has long been a valuable sideman but he also excels as a leader and is generous in allocating solo space. Trumpeter Lou Colombo (long a legend in the Northeast) is heard on one of his best showcases, tenor saxophonist Harry Allen (who sounds quite close to Stan Getz in spots) swings hard, and the rhythm section (pianist Johnny Varro, bassist Phil Flanigan, and drummer Jake Hanna) sounds as good as they look. Easily recommended to swing, trad, and classic jazz collectors. ~ Scott Yanow

George Masso (leader, trombone); Harry Allen (tenor saxophone); Lou Colombo (trumpet, flugelhorn); Johnny Varro (piano); Phil Flanigan (bass); Jake Hanna (drums).

Recording information: Hanse-Merkur Auditorium, Hamburg, Germany (03/06/1999).

C'est Magnifique!

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Trijntje Oosterhuis - For Once In My Life: Songs of Stevie Wonder Live

Bitrate: 320K/s
Time: 77:40
Size: 177.8 MB
Styles: Pop-soul
Year: 1999
Art: Front

[ 0:47] 1. You Will Know
[ 4:00] 2. I Wish
[ 4:04] 3. I Was Made To Love Her
[ 3:48] 4. Pastime Paradise
[ 3:37] 5. Don't You Worry 'bout A Thing
[ 2:38] 6. Lately
[ 1:31] 7. Overjoyed
[ 3:18] 8. For Once In My Life
[ 5:01] 9. All I Do
[ 5:05] 10. Higher Ground
[ 5:02] 11. Living For The City
[ 5:31] 12. These 3 Words
[ 4:59] 13. Love's In Need Of Love Today
[ 4:49] 14. Sir Duke
[ 3:14] 15. Signed, Sealed, Delivered I'm Yours
[ 3:28] 16. Superstition
[12:38] 17. Do I Do
[ 4:02] 18. My Cherie Amour

FOR ONCE IN MY LIFE is a Stevie Wonder tribute album by Dutch pop singer Trijntje Oosterhuis.2008 release from the lead singer of Total Touch. On For Once In My Life, Trijntje pays tribute to the songwriting talents of Stevie Wonder. 18 tracks including 'Overjoyed', 'My Cherie Amor', 'Don't You Worry 'Bout A Thing' and many more.

Trijntje Oosterhuis (vocals); Berget Lewis, Keith John (vocals); Leendert Haaksma (guitar); Peter Lieberom (tenor saxophone); Jan Van Duikeren (trumpet); Thomas Bank (keyboards); Cyril Directie (drums); Anthony Tolsma (percussion).

Recording information: Bacchus, Leiden, The Netherlands (09/21/1999/09/28/1999); Paradiso, Amsterdam, The Netherlands (09/21/1999/09/28/1999).

For Once In My Life

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Peter Beets - New York Trio

Bitrate: 320K/s
Time: 59:01
Size: 135.1 MB
Styles: Piano jazz
Year: 2001
Art: Front

[5:52] 1. Beets' Beat
[7:20] 2. The Game
[4:31] 3. First Song
[7:01] 4. It's Happening
[8:43] 5. The Nearness Of You
[6:12] 6. The Best Thing For You
[5:29] 7. Admirable
[7:21] 8. The Way You Look Tonight
[6:30] 9. Blues For The Apple

"The title of one of Beets' originals -"Admirable"- is an appropriate metaphor for all of them. Stylistically, he's a lineal descendant of such quintessential boppers as Bud Powell, Hampton Hawes, Bobby Timmons and Wynton Kelly and is closely attuned to their modern progeny but with a lyrical outlook and rhytmic conception of his own underscored by tasteful, cogently structured lines that always swing and a technique that rivals anyone this side of vintage Oscar Peterson." ~Cadence

On his debut album for Criss Cross, award-winning Dutch piano virtuoso Peter Beets links up with A-list American bass/drums pair Rodney Whitaker & Willie Jones III for a swinging, meaty program of six Beets originals & three timeless standards. Recorded in Brooklyn, New York on May 22, 2001.

Peter Beets (piano); Willie Jones III (drums). Liner Note Author: Ted Panken.

Recording information: Systems Two Studios, Brooklyn, NY (05/22/2001).

New York Trio

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Roy Orbison - 16 Biggest Hits

Bitrate: 320K/s
Time: 41:10
Size: 94.2 MB
Styles: Rock
Year: 1999
Art: Front

[2:23] 1. Only The Lonely
[2:49] 2. Blue Angel
[2:41] 3. I'm Hurtin'
[2:09] 4. Running Scared
[2:44] 5. Crying
[2:42] 6. Candy Man
[2:31] 7. Dream Baby (How Long Must I Dream)
[2:22] 8. The Crowd
[2:37] 9. Leah
[2:24] 10. Workin' For The Man
[2:47] 11. In Dreams
[2:20] 12. Falling
[2:23] 13. Mean Woman Blues
[2:29] 14. Blue Bayou
[2:46] 15. It's Over
[2:55] 16. Oh, Pretty Woman

All tracks have been digitally remastered using HDCD technology. Roy Orbison scored 20 consecutive Top 40 hits between 1960 and 1965, all but the last of them on the Monument Records label. This compilation presents 16 of the first 17 of those hits (missing is the 1963 Christmas song "Pretty Paper"), from the 1960 gold-seller "Only the Lonely" to the 1964 chart-topper "Oh, Pretty Woman," with Orbison's seven other Top Ten hits of the era in between. Technically, a few of Orbison's singles of 1965 and 1966 did a little better in the charts than a few of the ones here, and, of course, he scored a final, posthumous Top Ten hit with "You Got It" on Virgin Records in 1989. But this collection presents the music from the hottest part of his career in chronological order, with standards like "Crying" sharing space with lesser, but still worthy songs like "I'm Hurtin'." Aficionados know Orbison's Sun works, and his later recordings earned him a new audience, but the Monument hit singles of the early '60s are what he is best remembered for, and they're all here. ~ William Ruhlmann

16 Biggest Hits

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T.J. Graham - Small Day Tomorrow

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 49:30
Size: 113,3 MB
Art: Front

(3:06)  1. Lullaby of Birdland
(5:17)  2. Small Day Tomorrow
(3:05)  3. Senor Blues
(4:19)  4. Skylark
(2:38)  5. Mean to Me
(3:55)  6. Memphis In June
(2:00)  7. In Love In Vain
(3:55)  8. Sugar
(5:46)  9. God Bless the Child
(3:15) 10. Agua de Beber
(5:13) 11. Polka Dots and Moonbeams
(3:18) 12. Too Marvelous for Words
(3:39) 13. Find Your Love

T.J.'s infectious style and remarkably natural stage presence might come as a surprise to those who only know her as Dr. Graham. Currently a professor of Teacher Education in a local institution of higher education, T.J. has been a leader in the Midsouth education system for several years. Although she loves her status as an educator, she says that she feels most comfortable on stage, especially when she is performing with master musicians such as those local and nationally recognized musicians playing on the "Small Day Tomorrow" project, which includes traditional jazz swing, ballads, and Latin songs. For this brilliant album, producer John Lightman has assembled some of the finest musicians in the world to support and showcase T.J.'s sensual voice. Many of the songs on this CD were not so well known jazz tunes such as the stunning title ballad. Graham's and Lightman's musical partnership has produced a debut album which is certain to become a future classic.

Born in Buffalo, New York, T.J. Graham knew early in her life that jazz was her true passion. Growing up in an era when pop sounds of musicians such as Michael Jackson, the Commodores, Jeffrey Osborne, etc. were all the rage among her peers, T.J. found herself drawn to such jazz greats as Betty Carter, Shirley Horn, Nancy Wilson, Sarah Vaughan, Al Jarreau, Mel Torme, Joe Williams, Johnny Hartman and Nat "King" Cole. While T.J. cites these and other jazz greats as her major influences, she credits Ella Fitzgerald(her mother's favorite jazz vocalist) as being her initial inspiration.

T.J. has performed and/or sat in with many of Memphis' most notable jazz artists such as, Gene Rush, Donald Brown, Rene Koopman, Herman Green, Calvin Newborn, Joyce Cobb, Renardo Ward, John Lightman, Barry Johnson, Dom Fosco, Chris Ward, Mark "Dr. Scat" Weiss, Carl Wolfe, Charlton Johnson, Billy Gibson, the late James Austin (of the Platters), Irving Evans, the VA Swing Big Band and the Bill Jordan Big Band, to mention a few. She has also had the opportunity to study with nationally recognized jazz vocal greats Sheila Jordan and Jay Clayton. T.J. is most proud of the fact that she has acquired a wealth of musical knowledge from her music teacher, Irving Evans (pianist), whom she fondly refers to as "The Maestro." She feels that studying with "Maestro" Evans has elevated her to a higher level of musicianship. Beginning in the summer of 2003, upon her return from the Vermont Summer Jazz Workshop where she studied with Ms. Jordan and Ms. Clayton, she began performing regularly on Friday and Saturday nights with Evans.

If you were at one of T.J.'s live performances, you would at once be drawn to her magnetic and infectious style. Her elegant manner of delivering a song makes her a favorite among jazz vocalists. Those on the receiving end of T.J.'s performances are never disappointed; they are always in for a real treat, because she never fails to draw them in, making them as much a part of the show as possible. Able to perform tunes from various musical genres as well as having a vast repertoire of jazz standards, T.J. is able to take requests and to deliver almost always. She has adopted the motto of her mentor, Irving Evans, "Always play pretty for the people" and she always does just that!

T.J. is definitely a songstress who will make lovers of female jazz vocalists sit up and take notice. She reminds listeners of all that was authentic, sultry, sensual, and sincere in the music of such jazz greats as Ella Fitzgerald, Sarah Vaughan, Peggy Lee, Julie London, Carmen McCrae, Billie Holiday, Anita O'Day, Nancy Wilson, June Christie, Betty Carter, etc. She is definitely one to watch on the jazz scene!  

http://www.cduniverse.com/productinfo.asp?pid=7958647&style=music&fulldesc=T

Small Day Tomorrow

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Anita Wardell & Benn Clatworthy - If You Never Come To Me

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 56:02
Size: 128,3 MB
Art: Front

(5:29)  1. If You Never Come To Me
(6:15)  2. Spring Is Here
(5:55)  3. I Wish You Love
(3:42)  4. Come Rain Or Come Shine
(7:13)  5. I Get Along Without You Very Well
(4:22)  6. I'll Be Seeing You
(7:38)  7. I'm A Fool To Want You
(4:22)  8. Love Came On Stealthy Fingers
(6:54)  9. Weaver Of Dreams
(4:08) 10. Falling In Love With Love

Anita Wardell's singing is exciting and breathtaking. She is noted for her mesmerizing and captivating vocal improvisations and vocalese lyrics to instrumental solos. Anita is a musician who uses the voice as her instrument, displaying precision and agility, mixed with heartfelt emotion. Singer Norma Winstone praised her “unexpected vulnerability, which makes her reading of the ballads both beautiful and touching. Her honesty shines in this well-chosen collection of songs.” Bebop pioneer, Mark Murphy, proclaimed Anita, “a gift from Australia”, adding “What hits me, is how expressive her ballad singing is. Then she has the courage to scat a ballad or two, not unlike a young lady disciple of the Ben Webster school.” Born in Guildford, UK, Anita moved to Australia with her family as a child. Anita's formative years were spent soaking up the Rodgers and Hammerstein and Cole Porter classics. She also explored her father's collection of big band albums by Duke Ellington, Count Basie and many more. During her teens, she started to get to grips with the complexities of modern Jazz when she discovered Clifford Brown, Cannonball Adderley, Miles Davis and Charlie Parker. At the same time she learned her vocal craft from greats like Ella Fitzgerald, Mark Murphy, Carmen McRae, Betty Carter, Jon Hendricks and Eddie Jefferson. 

After attending secondary School she completed her degree in Music at the Adelaide University. In 1990, Anita relocated back to the UK where she studied at the Guildhall school of music and drama.  Anita's recording career began in 1995 with her CD,Why do you Cry? featuring pianist Liam NobleIn 1998 she released Straight Ahead with international star pianist Jason Rebello. Japan's most popular jazz publication, Swing Journal, gave its endorsement, writing, “she's the real thing who can fluently scat and vocalese!” Her longstanding musical relationship with pianist Robin Aspland started with the release of Until The Stars Fade in 2001 also featuring the exciting US drummer Gene Calderazzo and Jeremy Brown on bass. Jazzwise Magazine called her “energetic and inventive” while The Guardian proclaimed her “a model of the Jazz singer’s art”, highlighting her clarity, improvisational skills and emotional resonance. In 2004 she teamed up with tenor saxophonist, Benn Clatworthy, and recorded If You Never Come to Me. Anita was signed to Proper Records in 2006 and recorded Noted (2006) and Kinda Blue (2008). Her latest album, The Road, is due for release in summer 2013. Anita received the prestigious BBC Jazz Award for Best of Jazz category in 2006. This, coupled with the release of Kinda Blue has propelled Anita into the major artist arena. She has guested on many local and international recordings.  http://m.allaboutjazz.com/musician.php?id=2420

If You Never Come To Me

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Paul Young - Rock Swings

Styles: Adult Contemporary
Year: 2006
File: MP3@320K/s
Time: 47:41
Size: 109,2 MB
Art: Front

(3:24)  1. Tainted Love
(4:05)  2. Bennie And The Jets
(4:29)  3. Enter Sandman
(4:10)  4. Why Does It Always Rain On Me
(4:26)  5. Isn't It A Pity
(4:15)  6. The Boys Of Summer
(5:13)  7. Lose Yourself
(4:01)  8. Hungry Heart
(3:06)  9. I'd Better Get My Coat
(3:07) 10. In The Ghetto
(3:24) 11. The Jean Genie
(3:56) 12. Walk On The Wild Side

For much of the '80s, Paul Young rivaled Simply Red's Mick Hucknall as the top blue-eyed soul/pop singer in the U.K. In America, Young was known primarily for his lone chart-topper "Every time You Go Away," but was able to sustain his commercial success at home for much of the decade. He was chiefly an interpretive singer, and although he did write some of his own material, his greatest strengths lay in covering R&B classics and rescuing forgotten chestnuts from obscurity. Unfortunately, Young's career was interrupted periodically by difficulties with his voice, and those health problems substantially curtailed his activities in the '90s.

Paul Young was born in Luton, north of London in Bedfordshire, on January 17, 1956. He started his music career playing bass and guitar in several local bands, gradually working his way up to lead singer posts. Young first made a splash as frontman of new wavers the Streetband, who scored a national U.K. hit with 1978's "Toast." When they disbanded in 1979, Young and several bandmates quickly regrouped as the Q-Tips, a retro-minded soul outfit with a jones for classic Motown. With a self-titled album on Chrysalis and a relentless touring schedule, the Q-Tips generated significant interest in Young's solo potential, and in 1982 he signed with CBS, hastening the Q-Tips' breakup.

Young forged a songwriting partnership with Q-Tips keyboardist Ian Kewley, who also joined Young's new backing band the Royal Family (complete with a subset of female backup singers dubbed the Fabulous Wealthy Tarts). His debut solo single, "Iron Out the Rough Spots," was released in late 1982, and was followed by a cover of Nicky Thomas' reggae-pop hit "Love of the Common People." Neither single did particularly well on the charts, but his version of the lesser-known Marvin Gaye number "Wherever I Lay My Hat (That's My Home)" was a roaring success, topping the U.K. charts and pushing his debut album, No Parlez, to the same position later that year. No Parlez gave Young his first Top 40 hit in the U.S. with the Jack Lee-penned "Come Back and Stay" (a U.K. Top Ten), and also drew attention with its left-field cover of Joy Division's "Love Will Tear Us Apart." Young mounted an international tour in support of the album, which sold several million copies worldwide; afterwards, however, he suffered the first of numerous throat ailments which would pop up throughout his career.

Kept out of action for much of the latter-half of 1984, Young nonetheless made a contribution to the Band Aid "Do They Know It's Christmas?" single, and returned to the U.K. Top Ten with a version of Ann Peebles' "I'm Gonna Tear Your Playhouse Down." The latter appeared on his sophomore album The Secret of Association, released in 1985. That year, Young scored the biggest hit of his career with "Every time You Go Away," a previously obscure Hall & Oates album track from 1980. "Every Time You Go Away" topped the pop charts in both the U.K. and U.S., ending up as far and away his biggest success in the latter. Young followed it with another U.K. Top Ten hit in the original "Everything Must Change," and watched The Secret of Association become his second U.K. chart-topping album.

Young concentrated mostly on original material (co-written with Kewley) on his third album, 1986's Between Two Fires. A slicker, less soul-flavored outing, Between Two Fires sold respectably to Young's U.K. fan base, but didn't produce any major hits, and slowed his momentum somewhat. In its wake, Young took several years off from recording, chiefly for personal reasons but also to rest his voice. He didn't return until 1990, when Other Voices restored his commercial standing with a reading of the Chi-Lites' classic "Oh Girl," his only other U.S. Top Ten. He returned to the U.K. Top Five in 1991 with "Senza Una Donna (Without a Woman)," a duet with Italian pop singer Zucchero that appeared on Young's hits comp From Time to Time: The Singles Collection. In 1992, Young's version of Jimmy Ruffin's "What Becomes of the Brokenhearted" rose from the Fried Green Tomatoes soundtrack to top the U.S. adult contemporary charts, even though it missed the pop Top 20.

By this time, health problems were beginning to exact a toll on Young's voice, yet he remained a viable performer. 1993's The Crossing was his final album for Columbia, spawning the U.K. single "Now I Know What Made Otis Blue." In late 1994, Young issued an album of soul covers called Reflections, on the smaller Vision Music label. He then disappeared for several years, giving occasional live performances but mostly resting his voice and procuring new material. Eventually, Young signed with East/West, for whom he released an eponymously titled album in 1997. Displaying a stronger country influence, the record failed to sell well even in the U.K., and Young found himself without a label again. In 1999, he mounted a small-venue tour of the U.K. that earned him solid reviews. He subsequently concentrated on Los Pacaminos, a Tex-Mex/country-rock band he'd started on an informal basis in the mid-'90s; they issued a self-titled debut album in 2002. ~Bio  https://itunes.apple.com/us/artist/paul-young/id892951#fullText

Rock Swings

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Kenny Werner - Live at Maybeck Recital Hall, Vol. 34

Styles: Post-Bop, Jazz Instrument, Piano Jazz
Year: 1994
File: MP3@192K/s
Time: 58:49
Size: 81,2 MB
Scans: Front

(13:07)  1. Roberta Moon
( 8:37)  2. Someday My Prince Will Come
(12:09)  3. In Your Own Sweet Way/Naima
( 7:40)  4. Autumn Leaves
( 4:46)  5. Try to Remember/St. Thomas
( 6:42)  6. Guru
( 5:45)  7. A Child Is Born

Kenny Werner's Maybeck recital, volume 34 in the series, wanders even more freely and unpredictably than most, establishing his footing somewhere just outside the periphery of mainstream solo piano. A neo-romantic, free-associative spirit pervades these excursions, which sometimes end up in surprising places. The opening "Roberta Moon" roams in an almost new age-like manner until it reaches a streak of high velocity, while "Someday My Prince Will Come" is more boppish, with some nice abrupt transitions. An attractive voyage through "In Your Own Sweet Way" moves through "Jeepers Creepers," a snatch of "Raindrops Keep Falling on My Head," and finally ends up at the door of "Naima." The way he gets around "Try to Remember" before breaking playfully into "St. Thomas" is especially interesting. A most attractive entry in the long Maybeck line.(by Richard S. Ginell) http://www.allmusic.com/album/live-at-maybeck-recital-hall-vol-34-mw0000122177

Live at Maybeck Recital Hall, Vol. 34

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Pamela Rose & Wayne De La Cruz - Hammond Organ Party!

Size: 98,1 MB
Time: 42:35
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz/Blues/Soul, Hammond B3
Art: Front

01. How Little We Know (5:17)
02. Nobody But Me (4:44)
03. It's Raining (4:06)
04. September In The Rain (5:32)
05. My Babe (5:29)
06. Too Close For Comfort (6:13)
07. Where Or When (5:19)
08. God Bless The Child (5:52)

Personnel:
Pamela Rose vocals
Wayne De La Cruz Hammond B-3
Kristen Strom saxophones
Jeff Massanari guitar
Kent Bryson drums

With flaming red hair to match her fiery style, San Francisco jazz and blues vocalist Pamela Rose channels her life-long affair with the Hammond B-3 organ with the release of a brand new CD Hammond Organ Party! Co-produced with B-3 master Wayne De La Cruz, the duo have created a rare encounter between a soul-drenched singer and a prodigious B-3 practitioner. Known for her celebration of female songwriters Wild Women of Song, Rose shows yet another facet of her musical identity with this delightful new CD and concert. Boasting a big, bold voice and blues-infused sensibility, Rose is a Los Angeles native who first gained notice on the Bay Area scene in the late 1970s through her work with organist Merl Saunders and the Motown revue ZaSu Pitts Memorial Orchestra. Immersing herself in jazz over the past two decades, she’s the rare singer who can belt sassy golden age blues by Alberta Hunter and Ida Cox as easily as crooning a torchy Peggy Lee lament. For this special event in the Joe Henderson Lab, Rose celebrates her new CD release with a groove-heavy night of sweet soul.

Hammond Organ Party!

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Illinois Jacquet - Bottoms Up

Bitrate: 320K/s
Time: 72:07
Size: 165.1 MB
Styles: Saxophone jazz
Year: 1974/2007
Art: Front

[ 5:13] 1. Bottoms Up
[ 5:46] 2. One O'clock Jump
[ 5:54] 3. One O'clock Jump (alt)
[ 4:52] 4. If You Knew What It Does To My Heart
[ 5:21] 5. On The Sunny Side Of The Street
[ 4:32] 6. On The Sunny Side Of The Street (alt 1)
[ 7:15] 7. Africa Now
[ 6:20] 8. Jacquet's Boogie Woogie
[ 5:21] 9. Jammin For D. S
[10:09] 10. Blues Funk For Bill Marlowe
[ 6:00] 11. All The Things You Are
[ 5:20] 12. On The Sunny Side Of The Street (Alt 2)

There are two albums called Bottoms Up and they are frequently confused including on Allmusic and Amazon. Jacquet recorded an album called Bottoms Up for Prestige in 1968. On The Sunny Side Of The Street isn't on that album. This Bottoms Up was recorded for the French label Black & Blue in 1974 with Milt Buckner on organ, Roland Lobligeois on bass and Jo Jones on drums. Black & Blue re-released it on CD in 2000 with bonus alternate take. Illinois Jacquet continued to tour and record occasionally until his death on July 22, 2004 at age 81.

Bottoms Up

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Karen Lane - Beautiful Love

Bitrate: 320K/s
Time: 53:27
Size: 122.4 MB
Styles: Vocal jazz
Year: 2009
Art: Front

[5:36] 1. Softly As In The Morning Sunrise
[5:00] 2. Angel Eyes
[4:20] 3. Feeling Good
[5:02] 4. Beautiful Love
[4:14] 5. Meditation
[3:12] 6. Day In Day Out
[3:56] 7. We'll Be Together Again
[4:16] 8. Midnight Sun
[2:56] 9. More
[4:38] 10. Mood Indigo
[4:11] 11. Outta This World
[6:00] 12. I Thought About You

b. 1970, Perth, Western Australia, Australia. Encouraged to study music, Lane learned piano from the age of six and also played guitar. She heard pop music on radio and records and from a very early age had ambitions to become a singer. She sang in school shows and also in some teenage bands. Mainly, though, these years were spent studying for a Bachelor of Science degree and qualifying as a speech therapist. At 21 Lane moved to Sydney where she sang in clubs and pubs with a soul funk band and also with a jazz trio. She also began writing her own songs. Gradually, Lane developed her own style and found a following. Over the next few years her skills were enhanced and she wrote and produced music for the National Institute of Dramatic Art dance production Appetite, which was performed at 1994’s Melbourne International Arts Festival. In 1996, she founded Bloomers, a government-sponsored but independent project to record female singer-songwriters. The following year, she recorded a funk soul album, Sheherazade 1001 Nights, but then went to Singapore where she sang at prestigious clubs and hotels.

In 1999 Lane moved to London where she worked on corporate projects, visiting Europe and Asia with her musicians. Among musicians with whom she has worked are pianists Robin Aspland and Phil Peskett, saxophonist Derek Nash, Andy Hamill, violinist Julian Ferraretto, drummer Nic France and in particular with guitarist Dave Colton, with whom Lane writes many of her arrangements. Three of Lane’s cousins are also musical and they too relocated to London where they formed the Fairer Sax. A stylish and elegant singer with a special flair for ballads, Lane is a highly professional performer with a very pleasing vocal sound. ~bio from AMG

Beautiful Love

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Jay Eudaly & Rich VanSant - Channeling Harold

Released: 2002
Size: 161,2 MB
Time: 70:25
File: MP3 @ 320K/s
Styles: Jazz/Organ
Label: Music Room Records (MRR 5819)
Art: Front

01. Channeling Harold [6:43]
02. Autumn Leaves [5:08]
03. When Sunny Gets Blue [5:24]
04. Alone Together [7:51]
05. Norwegian Wood [6:52]
06. Cat [5:49]
07. My Romance [4:54]
08. Jeannine [6:02]
09. Road Song [6:25]
10. Waltz For Debby [3:58]
11. Sugar [6:12]
12. On Broadway [5:02]

The title (and opening) track of this album might have been called "Channeling Wes," what with its 7/4 intro vamp and classic B3 organ/guitar combo sound reminiscent of Portrait of Wes. Jay EuDaly's blowing is bluesier, but his affection for chord soloing and playing octaves definitely invokes the spirit of Montgomery.
(Incidentally, if you're curious, "Channeling Harold," is a EuDaly family term -- inspired by Jay's late grandfather Harold -- for doing "something funny and/or crazy that's potentially life threatening and involves the use of either firearms or lawnmowers.")Following the opener is a medium-up, straightahead shot at "Autumn Leaves," with Jay's fluid bebop lines fueled by Rich VanSant's Hammond B-3. Here VanSant gets his chance to cut loose, followed by the trio trading eights jam-session style.Then comes a major change of pace as the trio becomes a solo with Jay accompanying himself on guitar and singing "When Sunny Gets Blue." He gives it a ballad treatment, lending a folksy voice to the familiar standard.The trio is back for the fourth track, "Alone Together," at a medium tempo, and with a pronounced swing."Norwegian Wood" follows, and as one who finds the Beatles repugnant, I still resist the notion that this is a jazz standard (despite the fact that it has been recorded by Herbie Hancock, Charlie Byrd, and others). Still, once you get past the head, the band makes good on the modal changes."The Cat" is a funkier piece, followed by the great ballad "My Romance" sung by Diane "Mama" Ray."Jeannine" takes us back to up-tempo land, followed by the medium tempo "Road Song." The Wes Montgomery/Pat Martino organ trio influences are evident in spades here, but without being imitative.As on "When Sunny Gets Blue," "Waltz for Debby" has Jay accompanying himself on acoustic guitar. Oddly, the "Waltz" is done in 4/4 time, so if Jay had written original lyrics, he probably could have dodged the BMI royalty. The song has special meaning to Jay; he indicates in his web-based liner notes that he has "two daughters who dance professionally (ballet and modern, not the other kind).""Sugar" is done down-tempo with the trio. And the closing track, "On Broadway," features the trio with Jay singing -- not just the lyrics, but while doubling on guitar with scat. It's an interesting effect, and while Jay's vocals will never rival those of Johnny Hartman or Tony Bennett, they are a far cry from the wailing of Keith Jarrett when Keith is soloing.
For me, the organ trio tracks are what make this CD. Rich VanSant gets to show his jazzier side, and Jay EuDaly gets to unwind his bebop lines with the organ and drums providing train-like momentum.
(~Rod McBride)

Musicians:
Jay EuDaly: guitars, vocals;
Rich VanSant: Hammond B3 organ;
Ian Sikora, Kevin Johnson: drums;
Diane "Mama" Ray: vocals ("My Romance")

Recorded at Berry Music Group, Olathe, KS; Lynn Allred, engineer; mixed at BRC Audio Productions, Kansas City, MO;

REPOST
Channeling Harold

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Muriel Zoe - Birds And Dragons

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 40:31
Size: 92,8 MB
Art: Front

(3:17)  1. Birds And Dragons
(3:39)  2. Snow Covering Fields
(3:02)  3. Stop
(2:51)  4. Old Car
(3:22)  5. Nothing In Return
(3:53)  6. Double File
(3:21)  7. Him
(3:39)  8. Homesick
(3:45)  9. Punches In The Air
(3:06) 10. Tiles
(3:36) 11. Highlands
(2:53) 12. Far Too Far

That Muriel Zoe a highly original standard interpreter has been lost, it may remind you once again on the occasion of their new album. Their debut "Red And Blue" was brilliant eight years ago in this regard. But that is history. Since their last album "Flood" from Hamburg sings her own songs - and it was a right decision. With a small band of producer and multi-instrumentalist Stephan Gade plays a prominent role, Zoe manages to embed their songs in a coherent and transparent environment.Observations of nature ("Snow Covering Fields") and as personal as generally true stories ("Homesick") make "Birds And Dragons" to another album full of beautiful melodies in a simple but haunting sound - somewhere between pop, folk and melancholy, reminiscent of the early 1970s. As before, Zoe must not raise their voice to radiate authority.  http://www.jazzthing.de/review/muriel-zoe-birds-and-dragons/

Birds And Dragons

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Madeleine Peyroux - Bare Bones

Styles: Adult Contemporary
Year: 2009
File: MP3@320K/s
Time: 49:59
Size: 114,4 MB
Art: Front

(5:13)  1. Instead
(3:26)  2. Bare Bones
(4:37)  3. Damn The Circumstances
(5:21)  4. River Of Tears
(5:04)  5. You Can't Do Me
(4:20)  6. Love And Treachery
(5:28)  7. Our Lady Of Pigalle
(3:59)  8. Homeless Happiness
(3:59)  9. To Love You All Over Again
(4:45) 10. I Must Be Saved
(3:44) 11. Somethin' Grand

Madeleine Peyroux's fourth album isn't the normal mix of standards (contemporary or traditional) with a few songs of her own composing; each of the 11 tracks is a new song written by Peyroux, usually in tandem with producer Larry Klein or a guest. Still, she appears in her usual relaxed setting, with a small group perfectly poised to translate her languorous vocals into perfect accompaniment  organist Larry Goldings, pianist Jim Beard, drummer Vinnie Colaiuta, plus producer Klein on bass, Dean Parks on guitar, and Carla Kihlstedt on violin. Fans of vocal jazz may be disappointed to see that all the songs are new ones  many a great conversation could consist solely of the standards she should perform  but they may regret the disappointment. Peyroux is not only a great interpreter of songs, she also knows how to write in what might be called the old-fashioned way, the type of song with a universal, direct, emotional power that became a rarity during the late 20th century. Also, the help she gets from her co-writers  Walter Becker of Steely Dan, Klein, and friend Julian Coryell  is priceless. Becker delivers a pair of special gems, including the title track and a song called "You Can't Do Me" that delivers the priceless cutting wit he perfected with Steely Dan (a sample: "You know I get so blue and I go/Down like a deep sea diver, out like a Coltrane tenor man...Blewed like a Mississippi sharecropper, screwed like a high-school cheerleader"). Granted, Peyroux faces an uphill climb by delivering new songs in the same musical context that most listeners hear standards; after all, comparisons to the half-century of American popular song aren't fair, but they certainly come easy. Still, Bare Bones is a remarkable work from one of the best artists in vocal jazz. ~ John Bush  http://www.allmusic.com/album/bare-bones-mw0000806826

Bare Bones

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Charlie Rouse & Paul Quinchette - The Chase Is On

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 38:03
Size: 87,1 MB
Art: Front

(3:14)  1. The Chase Is On
(5:46)  2. When The Blues Come On
(5:21)  3. This Can't Be Love
(4:27)  4. Last Time For Love
(5:13)  5. You're Cheating Yourself
(6:16)  6. Knittin'
(4:21)  7. Tender Trap
(3:21)  8. The Thing I Love

The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie "Lockjaw" Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. 

They also seem to do a hard bop jam, then a ballad, and back to hard swinging. The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set "This Can't Be Love" apart from the original and "The Things I Love" displays the two tenors at their conversational best, while the lone original, "Knittin'," is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of "When the Blues Come On" and the good-old basic vintage swinger "You're Cheating Yourself." An LP-length CD (under 40 minutes), it is a shame there are no extra tracks or alternate takes. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy and now legendary session. ~ Michael G.Nastos   

http://www.allmusic.com/album/the-chase-is-on-mw0000651184

The Chase Is On

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Rhoda Scott & Benoît Sourisse - Organ Masters

Styles: Organ jazz
Year: 2011
File: MP3@320K/s
Time: 77:11
Size: 176,7 MB
Art: Front

( 8:30)  1. Nova
(12:19)  2. Portrait In Black & White
( 9:28)  3. Take the A Train
(12:13)  4. A Child Is Born
( 7:47)  5. Isn't She Lovely
( 9:32)  6. Le bar est ouvert
( 8:13)  7. C Jam Blues
( 9:05)  8. La valse à Charlotte

The daughter of an AME minister, Scott spent much of her childhood in New Jersey, where she learned to play organ in the churches where her father served. Soon she herself was serving frequently as organist for youth and gospel choirs at her father’s and other churches. Scott later studied classical piano, but she concentrated on the organ, eventually earning a Masters’ degree in music theory from the Manhattan School of Music. By this time she had been asked by a choir member to fill in with a small band as a jazz pianist. Enjoying the music, she agreed to stay on with the band on condition that she be allowed to play organ instead of piano. Choosing as her instrument the Hammond Organ, she soon became a preeminent jazz musician.

Scott was first attracted to the organ in her father’s church at age seven. “It’s really the most beautiful instrument in the world,” she stated in a recent interview. “The first thing I did was take my shoes off and work the pedals.” From then on she always played her church organ in her bare feet, and to this date she has continued the practice, earning her nicknames such as “The Barefoot Lady” and “The Barefoot Contessa.” Following her lead, many other performers of popular organ music now also play barefoot. Because of her church training, however, Scott uses the pedals to play a genuine bass line, unlike many other jazz organists, which allows her to use her left hand for more elaborate chord work. The resulting music is an energetic fusion of musical styles that partakes of jazz, gospel, and classical, reflecting both Scott’s early experience and her formal training. In 1967 Scott moved to France, where she has since spent most of her career and earned recognition far greater than that accorded to her in the United States, though she often performs in the latter country as well. http://www.last.fm/music/Rhoda+Scott/+wiki

Organ Masters

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