Christina Lux - Coming Home At Last

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 45:57
Size: 105,7 MB
Art: Front

(3:48)  1. Coming Home At Last
(3:54)  2. To The World
(6:49)  3. Arms Wide Open
(4:46)  4. Abuse
(6:16)  5. It Ain't Mine
(4:37)  6. Man Without A Face
(4:21)  7. Healing Waters
(3:45)  8. Love Is My Religion
(4:01)  9. Endless Fall
(3:36) 10. Late At Night

German-born singer-songwriter Christina Lux makes no bones about wanting to get right into the inner souls and emotions of her listeners: Her songs are direct examples of the hazardous riptides of love and human striving with titles like "It Ain't Mine" and "Abuse." She's been compared to Joni Mitchell and Shawn Colvin, and is a smart (perhaps genius) woman forever balancing her own brilliance and artistic drives with the need to love and be loved, and, most of all, to make music about the struggle to fulfill those needs. Her voice carries a slight Germanic ennui-ridden rasp, making her a bit of a kindred spirit to the cabaret singers of her nation's past, the ones who used to straddle chairs and smoke cigarettes in top hats while singing about love. That rasp, however, is harnessed to some light, gently bouncing soul. As its title might indicate, Coming Home at Last is a haven, a song collection as welcoming and comforting as the shoulder of a childhood best friend w! ho has just returned from a long, long trip.

"No excuses / They just blow my fuses / The body says stop / The mind can't follow / Maybe I'm frightened," goes the opening title track over somber melodic piano. The cabaret lilt is soon swallowed up by light soulful grooves and gentle drums and guitars. "Abuse" opens with the sly shuffle of brushes scraping along the snare drum while Lux goes deep into the harrowing tale of sexual abuse passed along for generations. The clear-eyed approach makes for harrowing listening, but makes the transcendent moments well earned, as on the uplifting sing-along "To the World" or "Late at Night" with its smooth fretless electric-bass meanderings and Lux's resigned declarations: "I know it doesn't help much / To start crying / But it doesn't help it all / To act as if this ain't true / I'm no good / At hiding."

This is music for mornings with coffee, sunshine, and the paper, time for sincere declarations and the openhearted yearning that we experience before the jaded poses of adulthood dim the beauty of the world in our eyes. Lux may make music on the easy-listening side of the tracks, but she doesn't throw away a single lyric; she goes for the tear ducts like a pit bull and fans love her for it. No one goes home without losing a little something along the way. But for each thing gained there's something lost, and in Coming Home at Last Christina Lux lets you know it's okay, you're safe, and you've always been. The hurt, as they say, is all hers. ~ Daily OM    

http://www.sequoiarecords.com/x126cd/Coming+Home+at+Last.html

Coming Home At Last

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Tom Rust & The Malcolm Edmonstone Trio - Saints and Singers

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 29:38
Size: 67,9 MB
Art: Front

(2:49)  1. Sunny Side Of The Street
(3:47)  2. I Can't Help It
(3:34)  3. Give Me The Night
(3:41)  4. Under My Skin
(3:05)  5. The Nearness Of You
(4:30)  6. Georgia On My Mind
(2:14)  7. Almost Like Being In Love
(3:26)  8. In The Wee Small Hours
(2:30)  9. Don't Get Around Much Anymore

"Award-winning vocalist Tom Rust presents 'Saints and Singers'. The result of a long-standing collaboration with pianist/arranger Malcolm Edmonstone and his vibrant trio, this release showcases Rust's considerable vocal ability, tackling hip arrangements of Great American Songbook classics with flair and accessible charm."

Tom Rust is eliciting rave reviews on the jazz and soul scene with what has been called his mellifluous tones, mellow, smooth and 'lived-in' voice.

Tom certainly hasn't slacked in his drive to get to the top, Tom is plying his trade, sweating it out in the clubs every week pleasing the crowds with standards, and his own interpretations of modern jazz & soul classic.

Tom says he is often mistaken for someone, or "people think they have met me before", and with his typical dry Mancunian wit he retorts "I used to be a prison warder".

Tom was born in Manchester, starting his musical journey aged 13 in the school band, graduating to the local youth orchestra, even doing his stint on Morecambe Pier !

Tom has always recognised the importance of performing 'live'... "with a live band there is something special, something in the push-and-pull of the band and audience... 'that chemistry' that brings out the best in the music"..."its fantastic that jazz has become 'cool' again thanks to the new wave of jazz and soul music artist's, and that certainly gives me a boost".

Tom Rust is being 'bigged-up' by some of the biggest names in music and the music business, and with credible reviews in everything from the Observer to 'Blues & Soul'
Tom looks set to 'go-all-the-way !' http://www.cdbaby.com/cd/tratmet

Saints and Singers

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Bobby Forrester - Bobby's Blues

Size: 168,8 MB
Time: 73:24
File: MP3 @ 320K/s
Released: 2013
Styles: Hammond B3 Jazz
Art: Front

01. Cotton Tail ( 5:28)
02. I Had The Craziest Dream ( 6:19)
03. All God's Children Got Rhythm ( 5:03)
04. We'll Be Together Again ( 7:16)
05. Bobby's Blues ( 8:18)
06. Minority ( 7:39)
07. This Is Happiness ( 6:37)
08. I'll Never Smile Again ( 5:56)
09. Don't You Know I Care (10:57)
10. Robbin's Nest ( 9:47)

Bobby Forrester was one of the greats of the Hammond Organ in Jazz and Rhythm and Blues. He worked for years with countless legends of Black music, from Lena Horne to Ruth Brown and everyone in between. However his life was tragically cut short at the age of 54, while he was still an extremely active sideman in the New York City Jazz scene. In 1993 Bobby took his working group into the studio in hopes that a label would pick it up, but to date it had never been released. Here, for the first time ever, is Bobby's self-produced solo album entitled "Bobby's Blues". Features Joey "G-Clef" Cavaseno on alto saxophone, William Ash on guitar, and Clarence "Tootsie" Bean on drums.

Bobby's Blues

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Sharon Carroll - Sharon Carroll & Company: Live At Backstage Pass

Size: 143,1 MB
Time: 62:12
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art:n Front

01. Cheek To Cheek (4:12)
02. At Last (5:00)
03. Besame Mucho (5:47)
04. Turn Me On (4:37)
05. Tell Me This Day Won't End (4:05)
06. It Never Enetered My Mind (5:41)
07. Blue Skies (5:17)
08. How Long Has This Been Going On (4:45)
09. Sway (2:34)
10. Body And Soul (5:10)
11. Dream A Little Dream Of Me (4:15)
12. Fever (5:28)
13. Hallelujah (5:16)

Smooth, rich vocals accompanied by first-rate musicians, Sharon Carroll's 2nd release features toe-tapping swing tunes, moving ballads and audience favorites. Backed by world-renowned, 3 time grammy-award winning bass player, Steve Gilmore, twenty year veteran of the army jazz band, master guitarist Steve Cosper, the soulful sounds of one-man band Luke Pinegar on trumpet, piano & snare drum, bi-lingual and multi-media artist Sean Dietrich on piano with seering featured vocals - this live CD includes 13 of the songs this group performed together over two years of concerts in their beautiful home town on Florida's gulf coast.

Using her years of classical vocal training and musical theatre experience - Sharon Carroll eased her way in to the jazz genre alongside some of the best musicians in the South. A torch singer at heart, some of Sharon's best moments come in ballads such as "It Never Entered My Mind," and "Body and Soul," but she maneuvers swing tunes like "Cheek to Cheek" and "Blue Skies" with the effortlessness of some of the greats. One of the highlights of the CD, "Hallelujah" is an audience favorite; haunting and melodic, this final cut will leave you wanting more.

Sharon Carroll & Company: Live At Backstage Pass

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Ruby Braff & Ellis Larkins - Grand Reunion

Bitrate: 320K/s
Time: 60:49
Size: 139.2 MB
Styles: Piano jazz, Cornet jazz
Year: 1973/2002
Art: Front

[3:35] 1. Fine And Dandy
[6:35] 2. I Want A Little Girl
[4:44] 3. Skylark
[2:29] 4. The Very Thought Of You
[4:37] 5. If Dreams Come True
[3:41] 6. Liza (All The Clouds'll Roll Away)
[4:37] 7. Easy Living
[5:15] 8. Love Walked In
[4:12] 9. Things Ain't What They Used To Be
[5:05] 10. Ain't Misbehavin'
[3:44] 11. Exactly Like You
[5:34] 12. Don't Get Around Much Anymore
[3:35] 13. I'm Confessin' (That I Love You)
[3:00] 14. Don't Be That Way

Digitally remastered by Jon Bates (Downtown Sound & Mix Masters). In 1955 cornetist Ruby Braff and pianist Ellis Larkins recorded a well-received set of duets. In 1972 they had a reunion. Since Larkins is a superior ballad player and accompanist, the emphasis on this date is on slower numbers although Braff does provide some fiery moments. The ten duets include "Fine and Dandy," "Skylark," "If Dreams Come True," "Liza" and "Love Walked In." Twenty years later Braff and Larkins would get together again with equally successful results. ~ Scott Yanow

Recorded at Warp Studios, New York, New York on October 14, 1972.

Ruby Braff (cornet); Ellis Larkins (piano).

Grand Reunion

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Tammy Weis - Where I Need To Be

Bitrate: 320K/s
Time: 42:38
Size: 97.6 MB
Styles: Easy Listening, Vocal
Year: 2010
Art: Front

[3:51] 1. I Kept Going
[3:03] 2. Everyone But Me
[3:28] 3. I Pretended
[3:33] 4. Don't Want To Fall In Love Again
[4:24] 5. I'll Spend Forever
[4:12] 6. You Said
[5:06] 7. All Because Of You
[4:10] 8. Not That Kinda Girl
[3:13] 9. Where Did The Time Go
[3:52] 10. Help!
[3:43] 11. Heading Home

A stirring collection of vocal numbers from Tammy Weis that draw on her past experiences. 'Where I Need to Be' is a personal reflection of her life in London, having relocated there from her native Canada. It features a stellar line up of musicians including Tom Cawley on piano, Arnie Somogyi on bass and Sebastiaan de Krom on drums.

Joining Weis is her working quartet drawn from the cream of the UK jazz scene including pianist Tom Cawley who also co-wrote most of the material with Tammy. Special guests include pianist Julian Joseph and pedal steel guitar virtuoso B.J. Cole. Weis' delicate vocal style has an intimacy that draws the listener into the personal stories on Where I Need To Be, expressing a sense of subtle vulnerability and of deserved self-assurance in her ability and material. This touching collection of originals (and one cover - Lennon and McCartney's Help, beautifully rendered as a plea for clemency from the troubles the world can throw at us) is Tammy's most personal musical document to date.

Where I Need To Be

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Willie Bobo - Spanish Grease: Uno Dos Tres 1 2 3

Bitrate: 320K/s
Time: 67:54
Size: 155.4 MB
Styles: Latin jazz
Year: 1994
Art: Front

[2:48] 1. Spanish Grease
[2:41] 2. Hurt So Bad
[2:22] 3. It's Not Unusual
[2:52] 4. Our Day Will Come
[4:07] 5. Haitian Lady
[2:14] 6. Blues In The Closet
[4:09] 7. Nessa
[3:50] 8. Elation
[2:30] 9. It's Not Unusual
[5:14] 10. Blind Man, Blind Man
[2:38] 11. Boogaloo In Room 802
[2:31] 12. Come A Little Bit Closer
[3:28] 13. Goin' Out Of My Head
[2:06] 14. I Remember Clifford
[3:10] 15. Rescue Me
[3:18] 16. Michelle
[2:47] 17. No Matter What Shape (Your Stomach's In)
[3:03] 18. Fried Neck Bones And Some Homefries
[3:14] 19. Ol' Man River
[2:40] 20. One, Two, Three (1-2-3) (Uno, Dos, Tres)
[2:45] 21. Night Song
[3:16] 22. The Breeze And I

Originally released as 2 separate LPs. UNO, DOS, TRES was recorded in 1965. SPANISH GREASE was recorded in 1966.

"In the 60's, Willie Bobo created a bridge between Popular and Latin music using an ensemble of instruments that included electric bass and guitar and no keyboards. He used Popular songs and transformed them with Latin rhythms to create a truly unique sound. This allowed for an entire industry of songs to be created by many great artists and composers. Using Willie as an inspiration, Santana created many of his signature styles from these early recordings. If you listen to the music used in the first Austin Powers movie, you will hear Willie's style being used to signify the 60's culture. This man was never given credit for his contribution to the American Pop Culture of the 60's and beyond." ~Luis Correa/amazon

Spanish Grease: Uno Dos Tres 1 2 3

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Abigail Riccards - When the Night Is New

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 56:28
Size: 129,6 MB
Art: Front

(6:26)  1. But Beautiful
(5:34)  2. East of the Sun
(3:33)  3. The Very Thought Of You
(4:19)  4. You Don't Know What Love Is
(3:35)  5. The Thrill Is Gone
(3:56)  6. If I Should Lose You
(6:55)  7. It Might As Well Be Spring
(3:18)  8. I Didn't Know What Time It Was
(4:54)  9. Left Alone
(4:46) 10. Just One Of Those Things
(6:18) 11. I Was Brought To My Senses
(2:47) 12. I'll Be Seeing You

The heralded arrival of any new singing sensation is oftentimes met with caution, but in the case of Abigail Riccards' When The Night Is New the total package her voice and the music is one that truly deserves attention. Riccards has gained notoriety since moving to New York in 2003 as a semifinalist in the Thelonious Monk International Jazz Vocal Competition in 2004, performing with some of the best in jazz, locally and for the troops in the Middle East. 

With a gorgeous voice that's filled with warmth and poise, and a style that equals celebrated peers Jane Monheit and Diana Krall, Riccards sings with genuineness without mimicking the great singers who have come before her. Riccards is in fine company with David Berkman (piano), Ben Allison (bass), Ron Horton (trumpet) and others. The songs consist of standards and popular songs (including a unique cover of Sting's "I Was Brought to My Senses ) with classic jazz vocals in a contemporary setting. Riccards' voice is finely crafted, infused with grace and confidence on the opening ballad "But Beautiful, or bringing some sassy styling on "East of the Sun. The snazzy arranging of some classics also keeps things fresh. The tasty horn section on "East Of the Sun enhances the swing. 

The oriental-pattern of the acoustic bass on "The Very Thought of You gives the tune a new and playful demeanor. Take your pick from the bass/percussion on "If I Should Lose You or the woodwind colors on "I Didn't Know What Time It Was. They all mesh perfectly with Riccards' sumptuous voice. Whether the tunes get down and funky on "It Might As Well Be Spring or heartthrob the feel of the blues on "Left Alone, Riccards sings as if she knows the material intimately. And when it's all said and done the proof exists in the package: the songs, the music and the striking voice of a talented new singer who shines brightly.~ Mark F.Turner  

http://www.allaboutjazz.com/php/article.php?id=27406#.Ud8Hp6xn2Vo).

Personnel: Abigail Riccards: vocals; David Berkman: piano, organ; Ben Allison: bass; Matt Wilson: drums; Adam Kolker: woodwinds; Ron Horton: trumpet, flugelhorn; Lage Lund: guitar; Rogerio Boccato: percussion.

When the Night Is New

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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

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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

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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

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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

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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

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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

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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 

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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

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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

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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

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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

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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

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