Silky Denims

Monday, November 18, 2013

Rossano Sportiello, Nicki Parrott, Eddie Metz - Live At The Jazz Corner

Styles: Jazz, Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 73:26
Size: 168,1 MB
Art: Front

( 7:51) 1. Beats Up
(10:03) 2. Gal in Calico
( 5:21) 3. Besame Mucho
( 5:41) 4. Honeysuckle Rose
( 3:52) 5. Li'l Darlin'
( 4:22) 6. Blue and Sentimental
( 6:14) 7. Spanish Eyes
( 6:10) 8. Nocturne
( 5:15) 9. Fantasie Impromptu
( 4:16) 10. Minute Waltz
( 3:58) 11. Fever
(10:18) 12. St. Louis Blues

The Eddie Metz Trio is comprised of three veterans, all from different continents, though all three make their homes in the U.S. Drummer Eddie Metz has played with a host of famous leaders, including Count Basie, Clark Terry, and Woody Herman. Bassist Nicki Parrott has taken her adopted homeland by storm since arriving from Australia, recording a number of her own CDs, duets with others, and appearing regularly as a guest player.

Italian pianist Rossano Sportiello is recognized for his effortless swing and broad interest in many jazz styles. All three players have also shared time on the jazz party circuit. This CD is made of tunes recorded over two nights at the Jazz Corner in Hilton Head, South Carolina, a nice mixture of standards, jazz classics, and even a few rarely played songs. Tommy Flanagan's "Beats Up," one of many bop vehicles based on "I Got Rhythm" chord changes, proves to be a solid, swinging opener, while the easygoing, foot-tapping take of "Gal in Calico," interrupted only by Metz's drum breaks, is a potent follow-up tune. Parrott has two vocal features, opening the exotic take of "Besame Mucho" with her potent bass chops before she begins her dramatic interpretation, in which the vocal retains its sad air, a point often overlooked by interpreters.

Parrott entices the listener with her sexy take of Peggy Lee's hit "Fever," adding some playful scat in unison with her bass. Sportiello dazzles with his medley of Chopin masterworks, though he's just as comfortable romping through "Honeysuckle Rose" or taking a leisurely stroll through Count Basie's signature song "Li'l Darlin'" (penned by the prolific Neal Hefti). The trio recalls the tango roots of W.C. Handy's "St. Louis Blues" by incorporating it into their introduction, then alternating between it and straight-ahead swing. Recommended. ~ Ken Dryden http://www.allmusic.com/album/live-at-the-jazz-corner-mw0002320796

Live At The Jazz Corner

Maria Neckam - Crossing and Blending

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 58:48
Size: 134,6 MB
Art: Front

(5:22) 1. Kleine Einsicht
(5:19) 2. Blue Birds
(3:51) 3. Hidden Dragon
(3:41) 4. My One And Only Love
(4:46) 5. November
(5:09) 6. The Music
(3:32) 7. Lovesong (for the crazy)
(5:10) 8. 55
(3:40) 9. When You're Gone
(4:15) 10. Connected
(4:45) 11. My Mind
(4:23) 12. Wer Liebt
(3:44) 13. Crossing & Blending
(1:05) 14. Beauty Everywhere

This is the only album by the ensemble Maryland, fronted by the Austrian singer / composer Maria Neckam with pianist Franz von Chossy, bassist Valdi Kolli and drummer Uli Genenger. A few guest musicians participate on some of the tracks. The album was recorded in Netherlands where Neckam was studying at the time vocal Jazz at the Conservatory of Amsterdam. This is her debut recording, a collection of fourteen songs, twelve of which are her compositions and lyrics, one is composed by the pianist to her lyrics and one is a standard. All the lyrics are in English, except in one case, where a poem in German is recited, rather that sung. From the very opening note of this album the listener enters a world of music, which is utterly Maria Neckam´s universe, distinctive, unique and completely irresistible.

Amazingly she manages to set her musical framework at such an early stage of her career. Although still lacking the experience and readiness of a mature artist, her amazing talent and youthful life-force overcome any possible traps and blunders. The album is so amazingly “complete”, full of superb music and heartfelt performances, that all the minor flaws, which are surely present herein, are completely pushed aside and become meaningless in view of the enormous amount of aesthetic pleasure, elegance and intelligence. Neckam´s idiosyncratic style reminds me of the young Annette Peacock, both in her compositional approach and some of her vocal technique.

Singer / composer Lauren Newton also comes to mind, especially on Neckam´s less structured pieces. Neckam´s music shows a wide range of influences and empathies, resulting in an enormously versatile scope of stylistic approaches on this album. Of course a debut album is often characterized by the strong desire to “spill out” vast amount of music, which has been accumulating for a very long time. Although such lack of focus might become a major problem for some artists, in the case of this album the versatility simply serves as an opportunity to show the listener how accomplished Neckam really is. Firmly based in the Jazz tradition, the music amalgamates a plethora of different influences, such as World Music, European neo-romanticism, traditional and experimental vocalese, and many others. Of course Neckam´s charm is all about taking all these different elements and making them completely and uniquely her own. As far as debuts go, this is definitely one of the most impressive ones that a music connoisseur might come across.

Although it had little media coverage and no real impact at the time of its release, it is nevertheless a superb piece of music, which deserves to be re-discovered, especially now in view of Neckam´s more recent success. A charming fruit, somewhat un-ripe and yet already delicious a gem! ~ Adam Baruch http://www.marianeckam.com/adam-baruch-reviews-crossing-and-blending

Crossing and Blending

Ken Peplowski - Maybe September

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 63:02
Size: 144,3 MB
Art: Front

(4:58) 1. All Alone by the Telephone
(7:33) 2. Moon Ray
(5:30) 3. Always a Bridesmaid
(6:43) 4. (Now and Then There's) A Fool Such as I
(4:47) 5. Romanza
(7:58) 6. Caroline, No
(1:57) 7. For No One
(6:47) 8. I'll String Along With You
(5:23) 9. Main Stem
(8:15) 10. Maybe September
(3:05) 11. Without Her

Ken Peplowski is reunited with his NYC working group that includes Ted Rosenthal on piano, Martin Wind on bass and Matt Wilson on drums. Peplowski takes us through a series of 'heartbreakers' from Lennon/McCartney's For No One to Irving Berlin's All Alone. He also includes a piano and clarinet duo of Poulenc's Romanza and a jazz rendition of Beach Boy Brian Wilson's Caroline, No. In total, there are 11 lesser heard tunes all recorded 'live' to 2-track in the studio. The entire album was made in about 3 hours with the great Malcolm Addey at the mixing console. ~Editorial Reviews

http://www.amazon.com/Maybe-September-Ken-Peplowski/dp/B00D4ABUUM

Maybe September

Sunday, November 17, 2013

Kip Traylor - A Lot Of Life To Live

Size: 82,1 MB
Time: 35:33
File: MP3 @ 320K/s
Released: 2012
Styles: Vocal Blues, Pop Blues, Pop
Art: Front

01. Lonely Avenue (3:12)
02. Make Your Move (2:57)
03. Waiting For You (3:34)
04. Learning You (2:51)
05. Beautiful Afternoon (3:21)
06. Love Song (2:57)
07. What Makes You You (2:59)
08. Back In Bed (3:21)
09. Losing Control (3:21)
10. The Last Time (3:10)
11. A Lot Of Life To Live (3:46)

From Montgomery’s Best Kept Secret to multiple Grammy nominations, Kip Traylor’s catchy songwriting, powerful vocal tone and honest lyrics are capturing listeners from coast to coast. Igniting with her humble beginnings at local venues and open mic nights, this up and coming singer songwriter has taken the blues world by storm with her 2012 LP, A Lot of Life to Live. Now back on the road and preparing to hit the studio again, Traylor is poised to turn herself into the genre’s hottest rising star.

Originally founded as a duo act, Traylor immediately drew the eyes and ears of her local scene, landing in the Montgomery Advertiser as the city’s Best Local Club Act in 2005. Following more local gigging and an EP release, she hit the road for a series of regional tours throughout the Southeast, then unveiling her debut acoustic record, The Live Sessions in 2008 and Beautiful Accident in 2010.

After teaming up with producer and co-owner of Great Moments In Music (GMIM Records) Tom Doane, Traylor hit the studio to record her latest full-band project, A Lot of Life to Live in 2012 .Joined by an all-star cast of keyboardist Coleman Woodson III, bassist Freddie Smith, drummer Josh Oswald and saxophonist Walt Hines, the album took shape while elevating her writing and arranging skills to new heights. Driven by early success of the title track, A Lot of Life to Live landed four 2012 Grammy nominations including Best Album, Best Blues Album, Best Vocal and Best Song.

Influenced by a wide variety of masterful songwriters such as John Mayer, Etta James, Ray Charles, Norah Jones, Adele, Ben Harper and others, Traylor crafts a sultry brand of bluesy rock with jazzy punctuation. The passion bleeds through in each and every track of the album, powered with personal, yet relatable lyrics which she masterfully expresses to her listeners.

A Lot Of Life To Live

Jesse Peters - Face Time

Size: 109,2 MB
Time: 47:16
File: MP3 @ 320K/s
Released: 2011
Styles: Vocal Jazz, Soul Jazz
Art: Front

01. That Ain't Today (2:53)
02. Rockin Daddy (Feat. Dave Babcock) (4:27)
03. It's Over Now (3:51)
04. Don't Go To Strangers (3:58)
05. Change The World (3:53)
06. Face Time (Feat. Paul Thorne) (2:56)
07. PYT - Working Day And Night (4:14)
08. His Eye Is On The Sparrow (4:49)
09. Fragile (5:12)
10. Songbird (4:33)
11. I Got A Woman (3:21)
12. More (Bonus Track) (3:04)

Jesse Peters’ newest recording, Face Time, is jazz-edged-soul, embracing a vocal driven mix of original and standard tunes filled with energy, innovation, scope, and range. From an ethereal falsetto that captures the fragility and depth of vocal colour (Songbird, It's Over Now) to a cheeky commentary on our all-consuming digital world (Face Time); from the classic swing Jesse was known for as the vocalist/songwriter/pianist of the Peters Drury Trio (Don't Go To Strangers, That Ain't Today, More) to energetic romps that are tributes to Ray Charles and, yes, the King of Pop himself, Jesse has crafted a set of tunes that beg to be listened to with only the finest of wine, or an excellent scotch, in hand. Retro, classic, recorded live-off-the-floor, Face Time, is a tribute to Jesse's jazz and soul music influences, showing where this jazz vocalist has taken his talent over the years.

Face Time

Roy Meriwether - Twilight Blues

Bitrate: 320K/s
Time: 64:20
Size: 147.3 MB
Styles: Piano jazz
Year: 2005
Art: Front

[ 5:46] 1. Dear Miss Kayla
[ 5:23] 2. The All Nighter
[ 7:49] 3. Twilight Blues
[ 7:29] 4. A Signom Tribute
[ 6:06] 5. It Ain't Necessarily So
[ 6:54] 6. The Nearness Of You
[ 4:23] 7. If Ever I Would Leave You
[ 7:23] 8. Sara Jane
[ 2:43] 9. Flyin Boogie
[10:20] 10. Signom Tribute (Reprise)

Throughout the history of jazz there have been some truly extraordinary musicians who have made significant contributions. Among them is the prolific pianist Roy Meriwether. Roy's career has spanned several decades while consistently dazzling fans with his unique phrasing and dramatically complex piano performances. "Twilight Blues" is one of Roy's finest artistic accomplishment and one in which he comes full circle as an arranger and a jazz virtuoso. Yet, he never abandons his signature style which has garnered quotes such as "the man with the thundering left hand" and "the best left hand in jazz piano performing with style, his music is alive and jumps with spectacular arrangements."

Fans who have been following Roy's career have been privileged to experience the progression of a remarkable artist from his earlier recordings on Columbia Records such as "Soup & Onions/Soul Cookin'" "Popcorn & Soul" "The Stone Truth" and "Soul Invader," through the Capitol Records releases "Soul Night" and "Preachin'" on to his Fahrenheit titles "Xtensions," "Opening Night" and "This One's On Me." In this recording Roy features legendary tenor saxophonist Houston Person, who has many recordings to his credit and is a leader in his own right. Playing bass for Roy is Leon Dee Dorsey, the creative young bassist who has an extensive history with everyone from the likes of Frank Sinatra to Art Blakely. Finally there is the soulful Dave Meade, who is the consummate drummer on this CD.

From swing to funk you can find your dish!and plenty of it. A touch of history prevails when Roy pays homage to his late uncle, the great blues singer and pianist Big Maceo, by performing "Flyin' Boogie." Roy demonstrates that unmistakable stride style in the performance of this song; reminiscent of the juke points where Mr. Piano would stride across the keys while the drinks were poured. Excitement is the key component of what he creates musically. Roy's piano playing is rooted in Gospel, Blues, and Jazz and one can only marvel at the depth of his performances. "Twilight Blues" is delightful and a must listen for any true jazz fan.

Twilight Blues

Catherine Russell - Sentimental Streak

Bitrate: 320K/s

Time: 46:33

Size: 106.6 MB

Styles: Jazz vocals

Year: 2008

Art: Front

[2:32] 1. So Little Time (So Much To Do)

[3:03] 2. I'm Lazy, That's All

[3:03] 3. Kitchen Man

[2:23] 4. Oh Yes, Take Another Guess

[3:13] 5. New Orleans

[3:17] 6. My Old Daddy's Got A Brand New Way To Love

[6:09] 7. South To A Warmer Place

[2:44] 8. Thrill Me

[2:56] 9. You Better Watch Yourself, Bub

[2:53] 10. I've Got That Thing

[3:16] 11. I Don't Care Who Knows

[3:20] 12. Broken Nose

[4:59] 13. Luci

[2:36] 14. You For Me, Me For You

On her second album, SENTIMENTAL STREAK, Catherine Russell turns back the clock to the era of blues, ragtime, and swing, summoning the ghosts of Ma Rainey, Bessie Smith, and a young Billie Holiday. Russell may draw comparisons to contemporary old-time revivalists like Madeleine Peyroux, yet there's an exuberance and vitality to the singer's performances that give SENTIMENTAL STREAK the ring of authenticity. Suitable for playing softly in the background or turning up to jitterbug levels, Russell's trip down music's memory lane charms and seduces.

Catherine Russell (vocals); Larry Campbell (guitar, resonator guitar, mandolin, violin); Matt Munisteri (guitar, banjo); Rachelle Garniez (accordion); Erik Lawrence (saxophone); Steven Bernstein (trumpet, slide trumpet, cornet); Howard Johnson (tuba); Larry Ham, Brian John Mitchell (piano); Lee Hudson, Byron Isaacs (acoustic bass); James Wormworth (drums).

Sentimental Streak

Count Red Hastings - S/T

Bitrate: 320K/s
Time: 40:59
Size: 93.8 MB
Styles: Saxophone jazz
Year: 1979/1991
Art: Front

[3:14] 1. Diga Diga Doo
[2:53] 2. Sugar Cane
[2:35] 3. Minor In The Diner
[3:22] 4. She's Funny That Way
[3:06] 5. Patches
[2:30] 6. Begin The Beguine
[2:53] 7. Candied Yam
[3:01] 8. Patches 2
[3:06] 9. Baboo
[2:14] 10. Minor In The Diner 2
[3:52] 11. Midnight Moan
[2:34] 12. Snap Case
[2:47] 13. Jumpin' With Pio
[2:44] 14. Danny's Jump

A fine tenor saxophonist who appeared on many sessions in the 1950s, Count Hastings only led two sessions of his own in his career, both for Gotham and released in full on this CD. The first two songs (from 1948) are with an unidentified rhythm section and include a barely recognizable "Begin the Beguine." The eight numbers from the January 4, 1950, session (including two alternate takes) often have Hastings teamed with fellow tenor George Kelly and some sparks fly. The music is early R&B but also has the influence of small-group swing and bebop. The material is mostly basic, but the playing is creative within the genre. Also included on this CD are two numbers apiece from altoist Danny Turner (no relation to the later Count Basie alto of the same name) and the completely forgotten (but worthwhile) tenor Eddie Woodland. Fun jump music. ~ Scott Yanow

Recording information: ??/??/1948-01/04/1950.

Count Red Hastings

Astrid Seriese - Eclipse

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 61:37
Size: 141,1 MB
Art: Front

(4:26) 1. Eclipse
(3:35) 2. Yesterday Is Here
(2:54) 3. Roll With My Baby
(5:06) 4. Calling You
(3:33) 5. Tender as a Rose
(4:09) 6. I'm a Stranger Here Myself
(5:49) 7. Kloptiklokbop
(4:17) 8. Meantime
(3:35) 9. Only Women Bleed
(3:30) 10. Throw It Away
(3:41) 11. Oughta Be a Woman
(5:45) 12. A Child Is Born
(1:57) 13. Little Boy Blue
(5:19) 14. Celona Bar
(3:54) 15. We Believed in Love

Astrid Seriese ( The Hague , February 26 1957 ) is a Dutch jazz singer, actress and singing teacher . Seriese was born as the daughter of an Indian mother and a Dutch father as the youngest in a family of five children. After grammar school she attended initial training at the Conservatory in Amsterdam and the Academy for Cabaret in the same place. After a few years they stopped the conservatory. In 1985 she sang-with Mathilde Santing and Julya Lo'ko - in the Dutch team at the Knokke Song Contest . She then formed a duo with Nedly Morales . In 1987 followed her acting debut in the Dutch film Blonde Dolly .

The years that she performed in several theater productions and toured Europe. In Britain it was in 1991 on the BBC to see if player / singer in the musical television production "M is for Man, Music, Mozart" with video of Peter Greenaway and music of Louis Andriessen . (In the Netherlands broadcast by the AVRO .) In 1992, she sings along in Fausto, the opera composer Harry de Wit . In 1993 her debut album came out showing crafted covers to hear. "Eclipse" The album is well received in the Netherlands. After a theater tour appeared in 1994 her second solo album "Secret World". Together with Peter Meuris Seriese composed the music in 1995 at the five-part NCRV series "Condemned". In the years that followed Seriese toured the Netherlands and they brought some albums. In 2000 she quit her own shows, because they could no longer financially for life. In 2006 she began bassist Wim Processed and visual artist Mieke de Haan with performances under the title Charcoal Songs . Bio ~ Trasnslate by google http://nl.wikipedia.org/wiki/Astrid_Seriese

Eclipse

Greg Skaff - Ellington Boulevard

Styles: Jazz
Year: 2004
File: MP3@320K/s
Time: 64:32
Size: 148,8 MB
Art: Front

(6:22) 1. Baku
(7:31) 2. Rambler
(6:06) 3. Super 80
(7:13) 4. Blues For Mr. T
(6:28) 5. Delphia
(9:13) 6. Inception
(7:15) 7. Poundcake
(6:45) 8. Isfahan
(7:35) 9. Highway 54

Recording studios can be cold and uninviting places. Without the ambience of a live room and an eager audience, some artists are challenged to capture the fire and the energy that results from the feedback of a receptive group of listeners. As wonderful as many studio recordings are, they don't always succeed in portraying what the group is really about. Watching Hudson Music's video of The Peter Erskine Trio Live at Jazz Baltica versus any of the trio's ECM recordings show, for example, a very different group. The sterility of the studio doesn't appear to be problematic for guitarist Greg Skaff. Add the clink of glass, the occasional cough and the scrape of chair against floor and Ellington Boulevard is so hot, so full of life that it could easily have been recorded in a club. It combines the energy of a live recording with the greater control over sound that is possible in the recording studio the best, then, of both possible worlds.

Ellington Boulevard , released last year as Blues for Mr. T and now reissued by ZOHO Records, pays tribute to the late Stanley Turrentine, a one-time employer of Skaff and inspiration for this set of high octane bop, soul grooves and blues. Teamed with organist Mike Le Donne and drummer Joe Farnsworth, Skaff creates a set that moves from the more complex post bop of "Baku" to the comfortable swing of "Rambler" and the light shuffle of the title track. As a guitarist, Skaff's precedence lies in Wes Montgomery and Grant Green, but by way of George Benson and Pat Martino. With a tone that is less thick, less dark than Martino's he still tends to favour rapid sixteenth-note runs and the occasional repeated phrase for emphasis. But unlike Martino Skaff settles more gently into a ballad, as he does in his bluesy reading of Freddie Hubbard's "Delphia." Still, like Martino he also favours tempo shifts within a tune, as he does on the Hubbard piece. Le Donne is equally capable of navigating the sometimes circuitous charts that Skaff chooses.

He swings the bottom end hard on McCoy Tyner's "Inception," yet is equally capable of greasy funk on Skaff's own "Poundcake." And Farnsworth, heard recently on Eric Alexander's Dead Center , proves that the best drummers have the breadth of vision to cover everything from the tender Ellington/Strayhorn ballad "Isfahan" to Skaff's soul jazz closer, "Highway 54." But what makes this a most satisfying date is how completely committed the trio is.

The ring of truth is loud and clear on this recording; there's not a wasted phrase, nor a note that doesn't feel like the right and only choice. Ellington Boulevard is another fine record from Skaff, who, along with Vic Juris, Dave Stryker and Richie Hart, is leading the vanguard of contemporary post bop guitarists on the New York scene. ~ John Kelman

http://www.allaboutjazz.com/php/article.php?id=15322#.UofEl-Jc_vs

Personnel: Greg Skaff (guitar), Mike Le Donne (Hammond B-3 organ), Joe Farnsworth (drums)

Ellington Boulevard

Trijntje Oosterhuis - We've Only Just Begun CD1 And CD2

Styles: Jazz Pop
Year: 2011
File: MP3@320K/s
Time: 67:48 (CD1)
Size: 162,4 MB (CD1)
Time: 72:24 (CD2)
Size: 173,4 MB (CD2)
Art: Front

CD 1

(3:59) 1. Somebody Else's Lover
(4:34) 2. De Zee
(3:08) 3. Walk On By
(4:23) 4. Face In The Crowd
(3:47) 5. Good Day
(2:42) 6. I Wany You Back
(4:05) 7. I'll Say Goodbye
(2:50) 8. I Say A Little Prayer
(3:58) 9. Wereld Zonder Jou
(5:59) 10. See You As I Do
(3:37) 11. Goodmorning Heartache (Live)
(4:23) 12. Let Us Be Always (Live)
(3:45) 13. Standin' Strong Together
(3:20) 14. For Once In My Life (Live)
(5:43) 15. Ken Je Mij (Live)
(3:55) 16. Free
(3:32) 17. Ain't Nothing Like The Real Thing

CD 2

(3:59) 1. Touch Me There
(3:59) 2. Kom Vlieg Met Me Mee
(3:13) 3. Nu Dat Jij Er Bent
(3:13) 4. Do You Know The Way To San Jose
(3:21) 5. Everything Has Changed (Imaani's Song)
(3:31) 6. Where Is The Love
(4:22) 7. One Moment Your Mind
(5:29) 8. Since We Got Back Our Power
(6:56) 9. Hifi (duet Wizards Of Ooze)
(4:06) 10. Love Me In Slowmotion
(3:59) 11. Brief Aan Jou (duet Opposites)
(6:38) 12. God Bless The Child
(5:15) 13. Fire & Rain
(3:32) 14. Music & Me
(3:50) 15. That's What Friends Are For
(3:14) 16. Ain't Who You Are
(3:39) 17. We've Only Just Begun

Trijntje Oosterhuis is one of the best pop/jazz singers from the Netherlands and she deserves a big shout out to the world. So this new compilation with the stuff she did in the last 15 years is a great way to do that. She is also known as Traincha, which makes is possible for non-native speakers to pronounce her name right to some extent.

Trijntje started out as the lead singer for the band Total Touch, which she co-founded with her brother Tjeerd Oosterhuis. Tjeerd is a skilled musician and is by now a good producer as well. This compilation contains the Total Touch singles Somebody Else's Lover, I'll Say Goodbye, Standin' Strong Together, Touch Me There, One Moment Your Mind and Love Me In Slow Motion from the two albums the band made in the 90s. The sound is kinda R&B from that decade, but the songs still are as strong as I remember them from back in those days. Strong vocals from Trijntje and her magnificent background vocalists on top of catchy songs. Good stuff.

She started singing as a solo artist by singing songs in Dutch. There's De Zee which is the 'title' song for the opening of the Amsterdam Arena, the football stadium of Ajax Amsterdam. It was followed by a duet with Marco Borsato called Wereld Zonder Jou, which would have been a great single when she could have sung it with a male vocalist who could actually sing. It still is a decent song, though. Next there is Vlieg Met Me Mee, which is the title songs for the Dutch film Abeltje, about a small boy traveling to New York and Africa in an elevator. Great song, even when Trijntje performs it nowadays. You can forget about the film, though. Very special is Ken Je Mij, which is a song Tjeerd wrote to the lyrics of father Huub Oosterhuis. The lyrics actually are a poem Huub wrote when Trijntje was born. Great song with a very emotional story. Further songs in Dutch are Nu Dat Jij Er Bent, which was recorded in honour of the birth of the Dutch crown princess Amalia van Oranje, and Brief Aan Jou for which Trijntje provided the chorus to this song of the one of the two rappers for the Dutch Opposites. All these songs prove the greatness of Trijntje’s voice as well as the fact that she should continue to record in Dutch as well.

Trijntje released a couple of solo cd’s with her own material, but is well known for her interpretations of other people’s songs as well as her jazz concerts and Blue Note recordings. She recorded cover albums with songs from Stevie Wonder (For Once In My Life), Michael Jackson (I Want You Back and Music & Me, the album was recorded as a way to express her grieve to the death of MJ), Billie Holliday (God Bless The Child) and Burt Bacherach. The last name is a bit special. Trijntje recorded an album with Bacherach covers together with The Metropole Orchestra, called The Look Of Love. Burt Bacherach heard the recording and was so impressed he wrote a new song for Trijntje, which lead to a second album with the new song Who’ll Speak For Love as the title track. Both albums show perfectly why the songs from Burt are so good and what a fantastic singer Trijntje is. One more shout out: the magnificent The Metropole Orchestra, which is the best orchestra in the world for these kinds of recordings ranging from pop and jazz (both as a full orchestra as well as the big band version) to classical. If you don’t believe me, ask the numerous artists that have recorded with them in the past, including Elvis Costello, Moke, Ivan Lins and Within Temptation.

The compilation contains further duets with Lionel Richie (love the song, but once again should have had a better male vocalist), Frank McComb (nice song, but the weakest song from the big band album Sundays In New York), Raoul Midon (a bit dull) and Herman Brood (should have been left out here, this song does do nothing for me). To prove Trijntje is nowhere near retirement, the album includes a couple of new songs. Good Day is a nice upbeat song written by Jamie Cullum. Ain’t Who You Are shows some signs of Total Touch and Since We Got Back The Power is the kind of soul ballad Trijntje does best. So there it is, a great introduction to Trijntje. This album contains some songs that are so so, but since it is a double album it is worth every penny (or euro cent, as we say in The Netherlands). It shows Trijntje as a very versatile singer, with a unique place in the Dutch pop/jazz scene. http://www.sputnikmusic.com/review/47067/Trijntje-Oosterhuis-We%E2%80%99ve-Only-Just-Begun/

We've Only Just Begun Disc 1,Disc 2

Ben Sidran - The Cat And The Hat

Styles: Vocal Jazz
Year: 1979
File: MP3@320K/s
Time: 37:48
Size: 86,6 MB
Art: Front

(5:00) 1. Hi-Fly
(4:11) 2. Ask Me Now
(4:45) 3. Like Sonny
(4:28) 4. Give It To The Kids
(3:33) 5. Minority
(3:53) 6. Blue Daniel
(4:28) 7. Ballin' The Jack
(3:12) 8. Girl Talk
(4:14) 9. Seven Steps To Heaven

This album became the stuff of legend after the A&M Horizon label went out of busines just weeks after its release. The Steve Gadd feature on "Seven Steps to Heaven" has been transcribed and passed down to generations of drummers, and the versions of "Girl Talk" (with original lyrics to replace the Bobby Troup trops) and "Blue Daniel" (with original lyrics that became the song "Life's a Lesson") have been covered often. http://bensidran.com/album/the-cat-and-the-hat

Ben Sidran - Piano, Vocals; Steve Gadd – Drums; Abe Laboriel – Bass; Mike Mainieri – Vibraphone; Lee Ritenour – Guitar; Michael Brecker – Saxophone; Joe Henderson – Saxophone; Tom Harrell –Trumpet; Buzzy Feitenm – Guitar; Luther Van Dross – Vocals; Paulinho Da Costa – Percussion; Don Grolnick – Organ; Tom Scott – Saxophone; Pete Christlieb – Saxophone; Jim Horn – Saxophone; Jerry Hey – Trumpet; Frank Floyd – Vocals; Mike Finnegan - Vocals

The Cat And The Hat

Saturday, November 16, 2013

Susannah McCorkle - Hearts And Minds

Bitrate: 320K/s
Time: 66:08
Size: 151.4 MB
Styles: Vocal jazz, Easy Listening
Year: 2000
Art: Front

[4:25] 1. I Can Dream, Can't I
[4:59] 2. Love Is Here To Stay
[4:39] 3. Love, Look Away
[4:02] 4. My Attorney Bernie
[3:14] 5. For All We Know
[4:19] 6. It Could Happen To You
[5:17] 7. Haunted Heart
[4:05] 8. What Did I Forget
[4:26] 9. Down
[5:29] 10. The Computer Age (In Motion)
[5:47] 11. Evolution
[3:14] 12. Feet Do Your Stuff
[5:26] 13. Do You Miss New York
[3:10] 14. Scars
[3:30] 15. I Don't Want To Set The World On Fire

Susannah McCorkle's 16th release available through Concord begins with "I Can Dream, Can't I" and ends with "I Don't Want ro Set the World on Fire," two highly desirous songs that may reflect the intentions of the dynamic vocalist, but needless to say after 15 successful releases cannot begin to measure the tremendous impact she has had as one of the most expressive singers on the jazz scene since the mid-'70s. McCorkle utilizes two rhythm sections, her longtime musical director/arranger/pianist Allen Farnham, guitarist Paul Meyers, and tenor saxophonist Dick Oatts on straight-ahead, Brazilian-influenced and swing compositions. They span nearly 70 years say a lot about human nature and what people feel and think about. She handles humor on three Dave Frishberg songs, tackles a funny song about depression on "Down," sings of fleeting romance and contemporary relationships on "For All We Know," and "Haunted Heart" and the Ivan Lins song "Evolution." Susannah McCorkle has the remarkable capability to bring rarely heard songs back to life through updated interpretations and 21st century appeal. ~ Paula Edelstein

Recorded at Sound On Sound Studios, New York, New York from March 28-30, 2000.

Susannah McCorkle (vocals); Allen Farnham (arranger, piano); Dick Oatts (tenor saxophone); Paul Meyers (acoustic & electric guitars); Steve Gilmore, Dennis Irwin (bass); Tim Horner, Vanderlei Pereira (drums); Thiago DeMello (percussion).

Hearts And Minds

Charlie Byrd - Blues Sonata

Bitrate: 320K/s

Time: 40:22

Size: 92.4 MB

Styles: Guitar jazz

Year: 1962/2001

Art: Front

[6:58] 1. Polonaise For Pour Pietro Ballad In B Minor Scherzo ..

[4:59] 2. Ballad In B Minor

[9:05] 3. Scherzo For An Old Shoe

[5:23] 4. Alexander's Ragtime Band

[4:35] 5. Jordu

[4:49] 6. That Ole Devil Called Love

[4:30] 7. Zing! Went The Strings Of My Heart

Though recorded on one day, at standard length for an LP, this is really two albums in one sleeve, showcasing two rather different formats for this highly original guitarist to pursue. "The Blues Sonata" is set up in a pseudo-classical three-movement manner, with a polonaise, ballad, and scherzo, and the liner notes refer to a sonata form of development. Well, sorry, but the classical trappings, if any exist, are worn very lightly by Byrd, his bassist Keter Betts, and drummer Buddy Deppenschmidt. "Polonaise Pour Pietro" t'ain't nothin' the blues, and a very fluid blues workout at that. "Ballade in B Minor" is Chopinesque in melodic influence only, including the brush-stroked improvisation segment, and "Scherzo for an Old Shoe" sets up as a Latinish number, then stays on one chord with an Andalusian strain. On side two, the scene abruptly becomes very urbane as Byrd switches to electric guitar, takes on Barry Harris' comping, bopping piano, and engages in straightforward swinging and balladeering without any textbook definitions getting in the way. "Alexander's Ragtime Band," "Jordu," and "Zing! Went the Strings on My Heart" are the merry swingers, "That Ole Devil Called Love" the relaxed ballad showcase. Whatever you call the music, the whole CD goes down easily and musically. ~ Richard S. Ginell

Recorded at Plaza Sound Studios, New York, New York on October 23, 1961.

Charlie Byrd (acoustic & electric guitars); Barry Harris (piano); Keter Betts (bass); Buddy Deppenschmidt (drums).

Blues Sonata

Indigo Swing - All Aboard!

Bitrate: 320K/s
Time: 45:32
Size: 104.3 MB
Styles: Swing
Year: 1998
Art: Front

[2:43] 1. The Indigo Swing
[4:01] 2. (Today's The Day) I'm Glad I'm Not Dead
[3:11] 3. How Lucky Can One Guy Be
[3:50] 4. Blue Suit Boogie
[2:58] 5. Baron Plays The Horses
[2:54] 6. That's Where My Money Goes
[2:58] 7. Hot In Harlem
[3:25] 8. Regular Joe
[3:17] 9. What's The Matter Baby
[3:43] 10. Violent Love
[2:11] 11. The Way We Ought To Be
[2:00] 12. Drinkin' It Up
[4:08] 13. So Long!
[4:07] 14. Memory Of You

In the fin-de-siecle dance clubs, Swing is the thing. Indigo Swing is a San Francisco outfit which has been working the neo-swing circuit non-stop. Actually, '90s swing is less a recreation of Artie Shaw-era Big Band music than the proto-R&B jump bands which followed in its wake. On ALL ABOARD!, Indigo Swing mixes originals and obscure "territory" gems ("Hot In Harlem," "Violent Love") in a relaxed yet driving style that does Louis Jordan proud. Special mention should go to William Beatty's fine rockin' piano along with Johnny "The Swing Lover" Boyd's insinuatingly weaselly vocals.

Recorded at Mobius Music Recordings, San Francisco, and Capitol Records, Studio B, Hollywood, California.

Johnny Boyd (vocals); Josh Workman (guitar, background vocals); Baron Shul (tenor & baritone saxophones); William Beatty (piano, background vocals); Vance Ehlers (acoustic bass); "Big Jim" Overton (drums).

All Aboard!

Maud Hixson - Love's Refrain

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 38:39
Size: 88,5 MB
Art: Front

(5:03) 1. With A Song In My Heart
(4:52) 2. There's Never Been A Day
(2:30) 3. A Ghost Of A Chance
(3:22) 4. Meet Me At No Special Place
(3:38) 5. Bad For Each Other
(4:26) 6. Here's That Rainy Day
(2:47) 7. Remind Me
(3:35) 8. Star Dust
(4:58) 9. Lotus Blossom
(3:23) 10. Lucky To Be Me

"Maud Hixson brings to these songs the casual sophistication they call for, so that they sound like what Ira Gershwin said a lyric should be “everyday conversation that happens to rhyme.” She brings out of them the wit and ingenuity the lyricists and composer used in handling the Tin Pan Alley formulas. She sings these great songs as their songwriters wanted. The song becomes not an occasion to display her gorgeously sultry voice but to inhabit the song and become the character the lyric portrays. As songwriters say, “She reads the lyric.” Her performance (and that of Rick Carlson) understated, sensuous, insouciant shows why such songs are the closest thing America has to a vital classical repertory of song." ~ Philip Furia, author of The Poets of Tin Pan Alley: A History of America's Great Lyricists and biographies of Irving Berlin, Ira Gershwin, and Johnny Mercer.

"Maud is a wonderful singer. I like her angelic, peaceful way of portraying a song. And she has excellent taste in material. I congratulate her on her stellar CD!" ~ Meredith D’Ambrosio, jazz vocalist, musician, composer, and visual artist.

"Love's Refrain features the singer Maud Hixson, new to me. She has a calm, restrained, sweet delivery, and her enunciation is letter-perfect. Where others of her generation ornament their performances with percussion and horns, she stays out in the open, with only Rick Carlson's empathic piano as her colleague. Her time is good, her voice pleasing. And the standards she has selected are valuable a few surprises amid the monuments of Tin Pan Alley. I have often written snidely of singers who emoted through every song, who took their efforts at top volume, registering high numbers on a Jazz Richter scale. Hixson does neither of these things, and her CD is a pleasure to listen to." ~ Michael Steinman http://www.cdbaby.com/cd/maudhixson2

Love's Refrain

Anita Wardell Quartet - Until The Stars Fade

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 63:16
Size: 144,8 MB
Art: Front

(4:01) 1. Get Out Of Town
(8:15) 2. Love For Sale
(8:39) 3. Make Someone Happy
(6:41) 4. Yor Are Looking At Me
(5:55) 5. I Have Never Been In Love Before
(6:52) 6. For All We Know
(5:38) 7. People Will Say We Are In Love
(6:10) 8. With A Song In My Heart
(6:20) 9. Devil May Care
(4:41) 10. My Shining Hour

Anita Wardell is one of England's best-kept secrets, but with talent like hers she won't be a secret for much longer. Possessing a natural swing and scatting ability like Kitty Margolis but with the sensuality of Julie London, Wardell is the complete jazz singer. Her sidemen are extremely gifted soloists in their own rights, and hearing this album should make North American jazz fans with the wherewithal want to hop the next plane to Ronnie Scott's when Wardell's quartet plays there the next time.

Until the Stars Fade contains only standards, but they are all performed with new interpretations that make the tunes sound as fresh as the day they were composed. The latin groove is a particularly nice touch to Bobby Troup's tragically-neglected classic "You're Looking at Me." Nothing short of amazing is the complete reharmonization of Rogers and Hammerstein's "People Will Say We're in Love." In the hands of Wardell and company the tune sounds as though it were composed by Herbie Hancock or McCoy Tyner.

Wardell also knows how to sing a torch song, and her rendition of "For All We Know" is particularly lugubrious and poignant. But when it comes to scatting, Wardell is right up there with Kurt Elling and Mark Murphy. Her performances of "Devil May Care" (most recently recorded by Diana Krall), "I've Never Been in Love Before" and "My Shining Hour" are masterpieces of vocal improvisation. Anita Wardell is an amazing talent whose artistry deserves much wider recognition. Until the Stars Fade is a flawless recording of a great jazz singer at the top of her game. ~ William Grim
http://www.allaboutjazz.com/php/article.php?id=10746#.UoJTA-Jc_vs

Personnel: Anita Wardell, voice; Robin Aspland, piano; Jeremy Brown, bass; Gene Caldarazzo, drums; Mark Taylor, drums

Until The Stars Fade

Keith Cooper Quartet - Hot Club & Trad Jazz

Styles: Gypsy Jazz
Year: 2010
File: MP3@320K/s
Time: 37:20
Size: 85,5 MB
Art: Front

(2:47) 1. Black And White
(2:15) 2. Duchess
(1:59) 3. H.C.Q. Strut
(2:20) 4. Limehouse Blues
(3:25) 5. Nuages
(2:28) 6. Shine
(2:53) 7. Sweet Georgia Brown
(2:54) 8. Swing '39
(1:49) 9. Canary Bank
(2:08) 10. The Continental
(1:47) 11. Lemon Yellow
(1:51) 12. Par 6
(2:05) 13. Roamin' In The Gloamin'
(2:06) 14. Something Tells Me (I'm Into Something Good)
(2:22) 15. When You Were Sweet Sixteen
(2:04) 16. While The Sahara Sleeps

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Hot Club & Trad Jazz

Todd Murray - Stardust & Swing

Styles: Easy Listening
Year: 2008
File: MP3@320K/s
Time: 42:57
Size: 98,3 MB
Art: Front

(3:24) 1. It Might As Well Be Spring
(3:38) 2. Dream A Little Dream Of Me
(3:41) 3. Moonlight Becomes You
(3:31) 4. Patricia
(3:25) 5. The Girl From Waco
(4:04) 6. If I Ruled The World (with Douglas Sills)
(3:30) 7. Time
(3:16) 8. I Wanna Be Around
(3:05) 9. Stardust
(4:38) 10. I Fall In Love Too Easily
(4:49) 11. Teach Me Tonight (with Marilyn Maye)
(1:48) 12. Wrap Your Troubles In Dreams

(Los Angeles – October 11, 2008) You'll snap and swoon as Todd Murray swings and croons his way through the American songbook. His latest album, “Stardust and Swing,” romances the classics from “Dream a Little Dream of Me” to “I Wanna Be Around” to the stellar “Stardust.” Recorded in Capitol Record’s famed Studio A, “Stardust and Swing” is full of lush brass and string arrangements that bring new meaning to these exciting new renditions of American standards. In addition, Murray offers up a few original pieces as well as duets with guest artists Douglas Sills and the legendary Marilyn Maye. When Murray finished his last album, “When I Sing Low,” he began compiling a list of songs that evoked an emotional response in him. “Every time I heard a song that made me feel good…no matter how many times I have heard it over the years, I wrote it down. Before I knew it, I had more than 50 songs on the list,” says Murray. “I knew then, I would like to begin working on another album.” Before he made his final list, Murray added a few new tunes as well. Murray believes “it’s important to sing and foster new songs. There are songs of today that become the American standards of tomorrow. I don’t believe ‘those were the good old days’ or that everything was better in times gone by.” In addition, the album provided the opportunity for Murray to work with two of his favorite singers Marilyn Maye and Douglas Sills.

Murray says he always admired Marilyn Maye -- particularly her classic swinging tunes like “Get Me to the Church on Time,” “Washington Square,” and “The Lamp Is Low.” “Her singing makes me feel happy….and there is an irreverence in vocal artistry. I was thrilled when she agreed to do a duet with me on the album” explains Murray. As to working with Broadway star, Douglas Sills, Murray asks: “Who wouldn’t want to sing with the best leading man on Broadway?” The only challenge was finding a duet that would highlight both Murray’s deep bass-baritone voice and the expressive, emotional quality of Sills’dramatic bari-tenor voice. According to Murray, it was a real challenge. So rather than consider traditional duets, he reinterpreted “If I Ruled The World” as a duet. His unique arrangement feels as if two people were simply talking to each other about the romantic notion of ruling the world. The result is stunningly simple yet dramatically powerful.

One of the new tunes on the album is the whimsical “Patricia.” Murray wrote the song for his friend,world-renowned chef and writer, Patricia Wells. When Wells asked Murray to sing at her birthday party,he surprised her by writing the song. Murray recalls that she was so overjoyed that her mouth was wide open through the entire song. She now concludes her world-famous cooking classes by playing the song for her students.

Garnering much praise, Murray’s debut CD, “When I Sing Low,” was chosen as one of “Talkin’ Broadway’s” Top Ten Vocal CDs of 2002. His Los Angeles Cinegrill performances were named LA Weekly’s Pick of the Month, and OUT Magazine named him on the “Hot List” for hottest cabaret singer. Murray has performed numerous solo shows, as well as at New York City and Palm Springs Cabaret Conventions at Lincol, and Townhall’s “Broadway By The Years 1935.” In addition, Todd toured for several years as the bass in John Brack’s quartet and soloist in many Zurich based concerts. Murray was part of the first Broadway tour of “The Secret Garden,” starred Off-Broadway in NYGASP’s “The Gondoliers,” and has been seen in several productions at Papermill Playhouse. Most recently, he starred in the leading role in the west coast premiere of the Irving Berlin review “The Melody Lingers On.” His rendition of “Why Not Me” can be heard in Charles Busch’s major movie release “Die Mommy, Die.”

There's no mistaking or forgetting Murray’s smooth baritone voice and heartfelt regard for every lyric. Whether it's ripping through a blazing-hot big band number like his self-penned “The Girl from Waco” or wrapping his golden cords tenderly around “I Fall in Love Too Easily,” Murray knows how to woo and wow an audience and send them away with a swing in their step. http://www.cdbaby.com/cd/toddmurray2

Stardust & Swing

Friday, November 15, 2013

Angela Galuppo - Angela Galuppo

Size: 125,2 MB
Time: 54:25
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. Tea For Two (4:00)
02. My One And Only Love (5:23)
03. I Only Have Eyes For You (4:48)
04. I Never Dreamed You'd Leave In Summer (4:31)
05. The Very Thought Of You (4:39)
06. Thank You For Being A Friend (3:53)
07. Eleanor Rigby (5:27)
08. The Only One (5:17)
09. S'wonderful (3:12)
10. I Feel For You (5:42)
11. Jesus Etc. (3:28)
12. Make Someone Happy (4:00)

Vocalist, songwriter (and actress) Angela Galuppo's debut recording under her own name (she also heads up Montreal pop/jazz ensemble St. Ange) is nothing short of sensational. What a voice! She makes each note count - drawing inspiration from her early idols, Ella Fitzgerald, Anita O'Day and Sarah Vaughn - but Galuppo's style and phrasing are entirely her own. Backed by a stellar band the recording is beautifully arranged "It's a jazz recording with tunes you wouldn't necessarily associate with jazz." Think Black Keys. Think Prince. "The album as a whole is moody, romantic, tender, intimate, lush and soothing," says Galuppo, "as an artist and a human being, I'm constantly evolving and changing, and learning about myself."

Welcome to the next chapter in the evolution of Angela Galuppo!!

Angela Galuppo