Monday, November 25, 2013

Nellie Lutcher - Two Sides Of Nellie Lutcher

Bitrate: 320K/s
Time: 52:41
Size: 120.6 MB
Styles: R&B, Vocal
Year: 1995/2010
Art: Front

[2:57] 1. He's A Real Gone Guy
[2:54] 2. Fine Brown Frame
[2:24] 3. Hurry On Down
[2:49] 4. Come And Get It, Honey
[3:15] 5. Let Me Love You Tonight
[3:04] 6. The Lady's In Love With You
[3:13] 7. My Little Boy
[2:29] 8. Alexander's Ragtime Band
[2:43] 9. Cool Water
[2:25] 10. That's A Plenty
[3:10] 11. (All Of A Sudden) My Heart Sings
[2:41] 12. Have You Ever Been Lonely (Have You Ever Been Blue)
[2:42] 13. On The Sunny Side Of The Street
[2:30] 14. You Made Me Love You
[1:44] 15. This Can't Be Love
[2:37] 16. Someone To Watch Over Me
[2:30] 17. Blue Skies
[2:25] 18. Three Little Words
[2:01] 19. It Had To Be You
[1:58] 20. Ole Buttermilk Sky

Nellie Lutcher was born in Lake Charles, Louisiana. As a teenager she learned piano and played in local bands along with her father who played bass. Soon she developed her vocal style as a member of the Southern Rhythm Boys. In 1947 she moved to Los Angeles and entered a local talent show there, and caught the ear of a representative of Capitol Records. She auditioned for the label and they liked what they heard and soon she was offered a recording contract and into the studio she went. Her first outing was Capitol #40002 - "Hurry On Down" and "The Lady's In Love With You". "Hurry" was an immediate hit being constantly played on area radio stations and was was a hard tune to corner, as it was a favorite in the jazz, R & B, and pop music fields. Nellie enjoyed huge success with her first record and it seemed to be a reward for all the years of hard work and scuffling that she had known. Now in her thirties with children of her own, Nellie Lutcher had arrived at last.The second session for Capitol Records resulted in #40017 - "He's A Real Gone Guy" and "Let Me Love You Tonight". Lightening indeed did strike twice as "Guy" was a huge hit just as the first Capitol release had been.

Besides both being hits on R & B stations, her first two records cracked the national pop charts top twenty best sellers. Her next outing for Capitol was her version of the pop standard "My Mother's Eyes" backed with a more contemporary tune "Watch Yourself Bub". In less than a year Nellie Lutcher had catapulted herself into the rarefied atmosphere of a successful crossover artist who had wide appeal to all segments of the listening public. Her stylistic piano playing based on jazz phrasings and boogie woogie and blues figures, coupled with her personalized vocal abilities combining elements of jazz scatting, syllable bending, and snappy asides, was her signature sound and made her a unique performer in the late forties.

Nellie Lutcher remains in our memory as one of the founders of the sound of America, as it has been for the last fifty years. She was there at the beginning and although fame and recognition is not as widespread as it should be, there are enough of us around today that KNOW Nellie Lutcher-our real gone gal.

Two Sides Of Nellie Lutcher

Harry Allen & Keith Ingham - The Back Room Romp

Bitrate: 320K/s
Time: 66:33
Size: 152.3 MB
Styles: Saxophone jazz, Piano jazz
Year: 1995
Art: Front

[3:52] 1. The Back Room Romp
[5:30] 2. Sweet Lotus Blossom
[5:22] 3. One Sweet Letter From You
[3:56] 4. Elephant Stomp
[4:57] 5. Rap City In Blue
[3:37] 6. San Juan Hill
[3:40] 7. That Blue Eyed Baby From Memphis
[6:24] 8. Linger Awhile
[4:56] 9. Ev'ntide
[5:59] 10. Bulldog Kitty From Union City
[4:31] 11. Have A Heart
[5:53] 12. Willow Tree
[4:22] 13. Blues For You Johnny
[3:27] 14. Old Man Blues

Although pianist Keith Ingham and tenor-saxophonist Harry Allen are billed as co-leaders, the main star of these 14 swing-based tunes is Scott Robinson who is well showcased on clarinet, soprano and baritone. Trumpeter Peter Ecklund also gets some good spots and the rhythm section (guitarist James Chirillo, bassist Murray Wall and drummer Jackie Williams) is perfect for this style of music. The emphasis is on obscure songs played in the vein of Duke Ellington's small groups of the 1930s and there are plenty of heated moments along with arranged ensembles. Well worth investigating. ~ Scott Yanow

Recording information: Kampo Studio, New York, NY (01/02/1995-01/03/1995).

Keith Ingham (piano); Harry Allen (tenor saxophone); Jackie Williams (drums); Scott Robinson (clarinet); Peter Ecklund (trumpet); James Chirillo (guitars); Murray Wall (bass).

The Back Room Romp

Stevie J - The Diversity Project

Bitrate: 320K/s
Time: 74:56
Size: 171.5 MB
Styles: Soul-blues
Year: 2011
Art: Front

[4:19] 1. Same Thang But A Different Game
[5:39] 2. Standin' At The Station
[4:03] 3. Born Again Bluesman
[4:41] 4. Middle Of The Road
[5:48] 5. The Rivers Invitation
[3:08] 6. Yes I Love Da Blues
[4:44] 7. Baby Come Home To Me
[4:58] 8. Play The Blues Son
[3:31] 9. Mississippi Po Boy
[3:59] 10. Married Girlfriend
[4:27] 11. Dam Near Crazy
[4:20] 12. Stolen Wine
[4:32] 13. Because Of Me
[3:20] 14. Without You In My Life
[4:42] 15. Cosmic Slop
[4:11] 16. Gravity
[4:26] 17. Born And Raised

"The Diversity Project" began as two separate cd's written and recorded over the same period of time. The blues cd, "Standin at the Station" was inspired by my first appearance on the Legendary Rhythm and Blues Cruise as part of the Mel Waiters Band. The thrill of jamming with Tommy Castro, Michael Burks, Ronnie Baker Brooks, Preston Shannon, Susan Tedeschi, and many other respected musicians planted the seed to pursue my blues career. My early gospel background is evident in the song "Mississippi Po' Boy". The soul cd, "Soul Sessions", is a compilation of my works in Mississippi as a southern soul artist. I never want to give up my southern soul family and fans. My diversity in music includes my bonus track- "Born and Raised", a hip hop collaboration with G. Cavino. My love for blues, soul, hip hop, gospel, and everything else is defined in this project. ~Stevie J

Stevie J. (vocals, guitar); Kimbal Funches (trumpet); Will Brow (trombone); Joe Banks (piano); Steve Lewis (keyboards); Anthony Rimmer (bass guitar); Chuck "Popcorn" Louden (drums); Angela Walls, Tonya Youngblood, Sonya Youngblood (background vocals).

Recording information: Back Yard Productions; Blue Room Studios; D'Mar Studios, Jackson, MS; Fundimentalz Studios; Gold Key Studios, Memphis, TN; Jukes Juke Box; Terry's 1stop, Dallas, TX.

The Diversity Project

Ann Crumb - A Broadway Diva Swings

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 68:56
Size: 158,5 MB
Art: Front + Back

(4:32)  1. Blues in the Night
(4:04)  2. I'm Gonna Go Fishin'
(4:41)  3. Lover Man
(4:10)  4. Come Rain or Come Shine
(7:45)  5. Lover Come Back (Instrumental)
(6:46)  6. Soon It's Gonna Rain
(6:36)  7. Ruby
(3:16)  8. I'm a Stranger Here Myself
(7:35)  9. Smoke Gets in Your Eyes (Instrumental)
(4:44) 10. Cry Me A River
(2:26) 11. Deedle's Blues
(3:51) 12. All Right, Okay, You Win (I'm in Love With You)
(8:24) 13. Sent For You Yesterday (Instrumental)

When one of Broadway's (and London's West End's) best known divas teams up with internationally known jazz musician Harry Allen (and his hot-as-a pistol saxophone), the result is pure musical magic. Add to that mix a trio of some of the country's most talented sidemen and what we have is this fantastic new CD of traditional jazz and blues recordings.From the sultry "Blues in the Night" to the favorite instrumental "Smoke Get's in Your Eyes", You will love every minute of this live session. ~ Editorial Reviews  http://www.amazon.com/Broadway-Diva-Swings-Ann-Crumb/dp/B00004Y6HE

Personnel: Ann Crumb (vocals); James Williamson (recorder); Harry Allen (saxophone); Larry Ham (piano); Duffy Jackson (drums).

Biréli Lagrène & Sylvain Luc - Duet

Styles: Gypsy Jazz
Year: 1999
File: MP3@320K/s
Time: 55:28
Size: 127,0 MB
Art: Front

(4:16)  1. Time After Time
(4:03)  2. Douce Ambiance
(4:12)  3. Estate
(3:20)  4. Made In France
(6:43)  5. La Ballade Irlandaise
(4:04)  6. Isn't She Lovely
(4:20)  7. Road Song
(4:14)  8. Zurezat
(5:45)  9. Stompin' At The Savoy
(4:39) 10. Les Amoureux Des Bancs Publics
(3:24) 11. Blackbird
(4:23) 12. Syracuse
(1:58) 13. Looking Up

“Relaxed” isn’t the word used to describe jazz at the close of the 20th century. Whether you’re a Wynton, Anti-Wynton, M-BASE, free jazz, Swing, post-bop, etc. fan, jazz is/has been about attitude and posturing. Although the rest of the world is oblivious to it, the wars that rage around modern jazz prove to be wearisome. Then along comes an unassuming document like Sylvain Luc and Bireli Lagrene’s Guitar duets. I bet they don’t even call this music jazz. We won’t either, because it would automatically lose numerous listeners sure to enjoy it. The French born Sylvain Luc has studied guitar, cello, violin and mandolin. His Paris jazz career has taken him through rock-fusion to classical and South American music. Like Luc, Bireli Lagrene was born in France but his Gypsy heritage was inspiration for his Django Reinhardt guitar style. 

As a child prodigy, he recorded at age 13. Soon he shed Gypsy jazz for rock fusion and after several albums (and tours with Jaco Pastorious) his music seemed to dead end. His rebirth came with a return to his Django’d roots. Luc and Lagrene’s duets range from pop tunes like Cindy Lauper’s “Time After Time,” Lennon/McCartney’s “Blackbird,” to Stevie Wonder’s “Isn’t She Lovely.” They swing a bit with “Stompin’ At The Savoy,” touch on jazz guitarist Wes Montgomery “Road Song,” a waltz “La Ballade Irlandaise,” and a bit of Django “Douce Ambiance.” When all is said and done, they haven’t shaken the world, but this relaxed session was never meant to be anything but comfortable-jazz (maybe not an oxymoron!). ~ Mark Corroto  
http://www.allaboutjazz.com/php/article.php?id=5500#.Uo0MG-Jc_vs

Duet

Jordana Talsky - Standard Deviation

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 32:26
Size: 75,1 MB
Art: Front

(4:48) 1. Black Velvet
(4:02) 2. Murder By Numbers
(3:18) 3. Old Devil Moon
(4:19) 4. Whogonnahold
(4:29) 5. Love Me (Lovefool)
(3:32) 6. Devil May Care
(3:18) 7. Panta Niwas
(4:37) 8. When the Sun Comes Out

Jordana Talsky's debut album, Standard Deviation, marks the arrival of a serious young talent in Canadian jazz. The vocalist/songwriter has been turning heads (and ears) on the Toronto scene for the last three years, and her musical career now takes a giant leap forward with this superb solo record. Standard Deviation features a seamless mix of pop and jazz material. Jordana succinctly describes the style of the record as "jazzy takes on pop songs and poppier takes on jazz songs. I am always attracted to new combinations, rather than strictly sticking to a genre." As the album title suggests, this is not just another conventional album of Great American Songbook standards. She does breathe vibrant new life into a few such classics, giving a bossa twist to "Old Devil Moon" and a breezy feel to "Devil May Care," while these tunes nestle snugly alongside fresh reinterpretations of pop-rock hits by Alannah Myles (her signature tune "Black Velvet"), The Police (a sly take on "Murder By Numbers") and The Cardigans' "Love Me (Lovefool)." The funky and infectiously upbeat "Panta Niwas" is, she explains, "based on some of my experiences in Nepal, when I lived there in my year between undergraduate and law school studies." The other original, "Whogonnahold," is a more introspective and philosophical look at life, but one delivered with delightful exuberance. No matter the repertoire, Talsky consistently displays an eloquent and fluent voice. Her phrasing is impeccable, and she never succumbs to the temptation of trying to impress with the technical ability she clearly possesses. The accompaniment of her ace band is always empathetic. Standard Deviation? A high standard sensation! http://www.cdbaby.com/cd/jordanatalsky1

Standard Deviation

Wynton Marsalis - The Spiritual Side of Wynton Marsalis

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 50:06
Size: 116,5 MB
Art: Front

(0:51)  1. I Hear A Knockin' (Solo)
(2:45)  2. All Rise XII: I Am (Don't You Run From Me)
(1:40)  3. If I Hold On
(4:34)  4. Processional
(1:37)  5. Psalm 26
(2:19)  6. Awakening
(4:12)  7. Hymn
(6:24)  8. Precious Lord, Take My Hand (Previously Unreleased)
(6:58)  9. In The Sweet Embrace Of Life Sermon: Holy Ghost
(3:14) 10. Flee As A Bird To The Mountain
(2:50) 11. Sing On
(3:27) 12. Benediction
(1:41) 13. Oh We Have A Friend In Jesus
(4:47) 14. To Higher Ground
(2:40) 15. Pot Blessed Dinner

As a New Orleans native, trumpeter/composer Wynton Marsalis has long incorporated a wide array of spiritual music into his own straight-ahead jazz. Even his earliest recordings, such as Black Codes (From the Underground) and The Majesty of the Blues, evinced the influence of gospel music, religious hymns, and New Orleans funeral processionals. Though raised in the Catholic church, Marsalis' professed take on religion has always been a holistic invocation of God, a sense of spirituality that connects all human beings -- at least as far as his music and liner notes have revealed. Inspired by the social activism of Martin Luther King, Jr., and directly influenced by the spiritually and socially conscious jazz of John Coltrane (A Love Supreme) and Duke Ellington (Sacred Concerts), Marsalis began writing his own explicitly spiritual-themed compositions beginning with 1994's In This House, On This Morning. 

The 2013 compilation The Spiritual Side of Wynton Marsalis brings together tracks off that album, as well as other divinely themed tracks Marsalis recorded during the '90s and 2000s. Formatted to evoke the rhythms and flow of a New Orleans funeral function, the compilation works as a soulful overview of this vital side of Marsalis' career. Included here are both small and large ensemble recordings from such albums as 1997's Pulitzer Prize-winning Blood on the Fields, 1999's Reeltime, 2002's All Rise, and more. ~ Matt Collar 
http://www.allmusic.com/album/the-spiritual-side-of-wynton-marsalis-mw0002581071

The Spiritual Side of Wynton Marsalis

Sunday, November 24, 2013

Susan Hanlon - Lovely Ride

Size: 92,5 MB
Time: 39:36
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. Bye Bye Blackbird (Feat. Shelley Carrol) (5:40)
02. Secret O' Life (4:44)
03. Just Squeeze Me (3:42)
04. Afro Blue (Feat. Shelley Carrol) (4:58)
05. Honeysuckle Rose (4:00)
06. Dahil Sa Iyo (3:46)
07. Moanin' (3:51)
08. I'm Old Fashioned (Feat. Addison Frei) (3:33)
09. Take It With Me (5:17)

Susan Hanlon is a dedicated and talented voice teacher and singer in Plano, TX. While teaching Commercial Voice at Collin College, Susan maintains a private vocal studio of aspiring artists and young singers.

Susan earned her M.A in Voice at The University of North Texas. Her graduate studies centered around vocal pedagogy and various commercial vocal techniques. She has had the honor of studying voice science and pedagogy under Dr. Stephen Austin and Jennifer Glidden. Susan has also focused on commercial vocal technique extensively with Jazz Artist and Jingle Singer, Rosana Eckert.

As a vocal coach and teacher, Susan primarily focuses on building a solid foundation and maintaining vocal health in various commercial music styles. Her students work on pop, jazz, country, folk, singer/songwriter, rock and musical theater styles in addition to choral music and classical repertoire. She is highly sought after as an adjudicator and clinician in the Dallas/Ft. Worth area. Her students consistently win top honors and perform frequently throughout the Metroplex.

Lovely Ride

Dr. John Meets Donald Harrison - New Orleans Gumbo

Size: 117,9 MB
Time: 50:50
File: MP3 @ 320K/s
Released: 2013
Styles: New Orleans Jazz/Blues
Art: Front

01. You Ain't So Such A Much (6:35)
02. Ja-Ki-Mo-Fi-Na-Hay (6:54)
03. Shave 'em Dry (5:17)
04. Big Chief (5:17)
05. Mamzelle Zizi (5:44)
06. Livin' On Borrowed Time (9:19)
07. Hu-Ta-Nay (9:16)
08. Walkin' Home (2:23)

This particular New Orleans Cookbook has two of the finest Crescent City chefs in the business cooking up some serious gumbo together! Donald Harrison Jr. and Dr. John got together with Donald's band for this culinary event up at New York's Birdland - one of many live albums recorded for Candid at the club, located at the time Uptown at 2745 Broadway and 105th Street. Donald is of course well known as one of the finest saxophonists of his generation-a long time member of Art Blakey's Jazz Messengers, co- leader of a fine band with trumpeter Terence Blanchard and young veteran of scores of albums under his own name-this being one of five on Candid. During his career he has been involved with many diverse aspects of the jazz idiom embracing the whole history of classic New Orleans music from second-line parade music of traditional jazz and the music of the Mardi Gras Indians tribe to the pioneering R&B of Professor Longhair and the contemporary funk of the Neville Brothers and Dr.John. Add to these ingredients his involvement with be-bop, post bop, nouveau swing and smooth jazz and one can understand why the Times-Picayune called him “A complex keeper of local culture “ ,“I travel through so many different styles of music, it's all part of me,” said Donald. As the son of Guardians of the Flame Big Chief Donald Harrison Sr., Harrison has made his way in the wider world of jazz beyond New Orleans much like the fictional character loosely based on him - Delmond Lambreaux in the hit U.S. Television series Tremé.

Malcolm John “Mac” Rebennack a.k.a. Dr. John the Night Tripper found early inspiration from being exposed to records of jazz stars of the day along with hearing piano playing and minstrel tunes sung by his family. In his early teens he went to hear Professor Longhair who made a tremendous impression on the lad. He took up music lessons, concentrated on the guitar and started gigging around with local bands. He worked extensively as a session musician and all the time his style continued to evolve until eventually it incorporated as well as vocals, blues, jazz, pop, zydeco, boogie R&B and Funk. His profile increased with the success of his recordings and in the late sixties he gained a cult following with his album Gris Gris. And so it goes on - he has made scores of albums and had innumerable hits. He now has six Grammys to his name and in 2011 he was inducted into the Rock and Roll Hall of Fame and two years later was the recipient of an honorary Doctorate of Fine Arts from Tulane University.

Dr. John was certainly in the Right Place at the Right Time in 1991 though when he appeared in this collaboration with Donald Harrison and his fine band. Cousin Joe's 1946 classic You Ain't So Such A Much gets this late night Birdland session into a down home groove right away propelled by Harrisons boppish alto. Likewise Donald soars through Ja-Ki-Mo a New Orleans standard sometimes known as Iko Iko. Shave 'em Dry is referred to as a “wild and woolly song” which Mac learned from Big Chief Jolly-this version enlivened by some choice lyrics from Roosevelt Sykes' Mother Fuyer. One of Professor Longhair’s best known songs is Big Chief, expertly worked over here by both leaders. Howard “Smiley” Ricks the noted percussionist featured on Mamzelle Zizi was brought up on the famous New Orleans second line rhythm. Dr. John tells it like it is on Livin' on Borrowed Time, which is a slow and soulful expression of the eternal problem which besets all over-spenders. Stephen Scott and the aforementioned Smiley get their chance for an extended blow on Hu-Ta-Nay before we all go Walkin Home.

And the two true sons of America’s most unique city have upheld its tradition once again with joyous flair and pride.

New Orleans Gumbo

Jeff 'Skunk' Baxter - Plays The Hits

Bitrate: 320K/s
Time: 50:26
Size: 115.5 MB
Styles: Rock-jazz guitar
Year: 2008
Art: Front

[4:50] 1. Breathe (In The Air)
[6:27] 2. Babe I'm Gonna Leave You
[3:46] 3. Honey, I'm Home
[4:08] 4. Same Old Song And Dance
[3:48] 5. Don't Be Stupid
[4:17] 6. Something To Fall Back On
[4:20] 7. Whose Bed Have Your Boots Been Under
[3:59] 8. St. James Infirmary
[3:56] 9. That Don't Impress Me Much
[6:33] 10. Babe I'm Gonna Leave You (Instrumental)
[4:17] 11. I Won't Leave You Lonely

Best-known for his work with Steely Dan and the Doobie Brothers, Jeff "Skunk" Baxter's versatility and highly developed technique as a soloist made him a hugely in-demand session guitarist from the '70s on. Perhaps because he's never recorded a solo album, Baxter isn't quite a household name, but his talent and taste have never been in question. Born December 13, 1948, in Washington, D.C., Baxter (who refuses to discuss the origins of his nickname) landed his first recording gig in 1969 with the psychedelic pop group Ultimate Spinach. In 1972, he began his association with Steely Dan, playing on their debut album, Can't Buy a Thrill; his ability to blend rock's visceral power with smooth, sophisticated jazz-pop made him an important element of the group, until Walter Becker became accomplished enough to handle the guitar leads himself. Following 1974's Pretzel Logic, Baxter moved on to the Doobie Brothers, debuting later that year on What Once Were Vices Are Now Habits and continuing on for several more albums through 1978; he also frequently doubled on steel guitar. During the mid-'70s, Baxter also began to expand his session work, eventually playing everything from rock to folk to pop to country to fusion to R&B; he also went on to work with the likes of Dolly Parton, Barbra Streisand, Rod Stewart, Bryan Adams, Ringo Starr, Carly Simon, Donna Summer, Joni Mitchell, Rick Nelson, Hoyt Axton, and Freddie Hubbard, among many others. Baxter's general interest in technology led him into production, most notably helming several albums for hard rockers Nazareth. In keeping up with technological advances, though, Baxter also developed an interest in military hardware and weapons systems, which he developed an amazing grasp of; thanks to his self-education and staunch Republican politics, he was hired in 2001 by the Bush administration as a defense analyst, also serving as a consultant to several U.S. congressmen (and continuing his music career). ~bio by Steve Huey

Plays The Hits

Cannonball Adderley & Ernie Andrews - Live Session!

Bitrate: 320K/s
Time: 42:32
Size: 97.4 MB
Styles: Saxophone jazz, Vocal jazz
Year: 1964/2004
Art: Front

[0:27] 1. Cannoball Adderley's Introduction
[3:19] 2. Big City
[3:53] 3. Next Time I See You
[3:20] 4. I'm Always Drunk In San Francisco
[2:48] 5. Ten Years Of Tears
[3:07] 6. Bill Bailey
[3:28] 7. I'm A Born World Shaker
[2:53] 8. Don't Be Afraid Of Love
[2:13] 9. Since I Fell For You
[2:56] 10. If You Never Fall In Love With Me
[4:19] 11. Come On Back
[4:48] 12. Work Song
[4:55] 13. Green Door

While Cannonball Adderley is a fine and well-known alto saxophonist, his equal partner on Live Session!, vocalist Ernie Andrews, is a more obscure figure. Andrews recorded frequently during the late '40s and throughout the '50s, but retained a lower profile during the '60s. That's one reason why Live Session!, recorded in 1964, is such a special work. Backed by Adderley, cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes, Andrews' warm, rich vocals offer lovely interpretations of an even dozen songs. The material cuts a wide swath across non-jazz genres, from the bluesy "Next Time I See You," to the popular "Since I Fell for You," to the fun nonsense of "Green Door." Although the instrumental work takes a backseat to the vocals, both Adderleys find room to offer pithy solos that spice up the proceedings. The accompaniment is an active one, too, with intricate piano and horns highlighting and underlining Andrews as needed. Interestingly, the songs were recorded live on two different dates, two years apart. The album nonetheless flows as a piece. Three tracks, "Come on Back," "Work Song," and "Green Door" have been added to the 2004 reissue, providing yet another reason to pick up Live Session! ~ Ronnie D. Lankford, Jr.

Recorded at The Lighthouse, Hermosa Beach, California on October 4, 1964; Memory Lane, Los Angeles, California on September 19, 1962.

Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (piano); Sam Jones (bass); Louis Hayes (drums).

Live Session!

Various - As Time Goes By: In And Out Of The Ordinary Vol 1

Bitrate: 320K/s
Time: 77:47
Size: 178.1 MB
Styles: Various jazz styles
Year: 2007
Art: Front

[4:09] 1. Jermaine Landsberger - Hammond Eggs
[5:37] 2. Roberta Ganbarini - On The Sunny Side Of The Street
[4:32] 3. Buster Williams - Something More
[2:47] 4. Flora Purim & Airto Moreira - Escape
[6:08] 5. Lester Brown's Brass Fantasy - For Louis
[7:04] 6. James Blood Ulmer's Blues - Crying
[3:51] 7. Toots Thielemans - Hard To Say Goodbye
[5:15] 8. Woody Shaw - Estaté
[2:31] 9. Viviane De Farias - Na Hora De Paixao
[3:31] 10. Paul Kuhn - Heading South
[5:57] 11. Lynn Arriale - Home
[4:45] 12. Lenny Andrade - Chega De Saudade
[5:20] 13. Billy Cobham - You Know, You Know
[5:24] 14. Max Hacker - Upper Manhattan Medical Group
[5:39] 15. Joachim Kuhn Trio - Angel Dust
[3:01] 16. Larry Coryell - She's Leaving Home
[2:08] 17. Paul Kuhn - As Time Goes By

As Time Goes By: In And Out Of The Ordinary Vol 1

Ashley Brown - Speak Low

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 53:01
Size: 122,3 MB
Art: Front

(4:14)  1. Speak Low
(3:01)  2. If I Were A Bell
(5:29)  3. As Time Goes By
(3:28)  4. Smile/Make Someone Happy
(2:57)  5. Falling In Love With Love
(4:32)  6. My Funny Valentine
(4:35)  7. Saturday Night Is The Loneliest Night Of The Week
(4:13)  8. How Long Has This Been Going On
(3:17)  9. I've Got The World On A String
(4:39) 10. My One And Only Love
(4:47) 11. The Very Thought Of You
(3:05) 12. Let's Fall In Love
(4:40) 13. I'll Be Seeing You

In the great tradition of multitalented stars, Broadway's newest diva Ashley Brown makes her solo record debut with her jazz vocal album, "Speak Low."

Speak Low is the title track on a thoughtfully curated collection of American Songbook standards that also includes a sexy and imaginative medley of two great standards, "Smile" and "Make Someone Happy". The album is filled with passionate, seductive interpretations of a wide range of songs covering jazz and Broadway standards. Speak Low is a collection of Ashley's personal favorites and will consist of new arrangements of such well known classics as "My Funny Valentine", "I'll Be Seeing You", "My Only Love" and "The Very Thought of You." 

The creative team includes Emmy Award-winning conductor, pianist, composer, and arranger Lee Musiker (Tony Bennett, Barbara Cook), World Renowned Keyboardist, Arranger & Composer Yaron Gershovsky (Manhattan Transfer), and 2008 Grammy nominee and Sony artist, Eldar. Speak Low is produced by Grammy nominated Sony Masterworks producer, David Lai (South Pacific, Allegro).

Brown is currently playing the title character in the United States national tour of Mary Poppins after originating the role on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress. "Even for those of us who spend our lives working in the performing arts there are those moments when an artist simply takes your breath away and makes you think, ‘now THAT'S how it's done!' Ashley Brown is one such artist," said Thomas Schumacher, producer and president of Disney Theatrical Productions. "Ashley is a class act; charming, witty, smart, stunning and possessing a voIce That makes you understand the true meaning of heaven."

Brown has one of the most celebrated voices on Broadway and in the concert and cabaret worlds today. As a concert artist, she has performed with many of the most prestigious orchestras in the U.S. including the Boston Pops (with Keith Lockhart), the New York Philharmonic (with Marvin Hamlisch), The Pittsburgh Symphony opposite Shirley Jones (with Marvin Hamlisch), the New York Pops at Carnegie Hall, the Cincinnati Pops (with Erich Kunzel), the Indianapolis Symphony (twice with Jack Everly), and the Hollywood Bowl Orchestra (with John Mauceri) at Disney Hall. http://www.broadwayworld.com/article/Ashley-Browns-Speak-Low-Availible-for-Purchase-in-Stores-112-20100112

Billie Joe Armstrong & Norah Jones - Foreverly

Styles:  Folk Pop
Year: 2013
File: MP3@320K/s
Time: 45:41
Size: 104,6 MB
Art: Front

(4:10)  1. Roving Gambler
(3:30)  2. Long Time Gone
(5:01)  3. Lightning Express
(3:15)  4. Silver Haired Daddy of Mine
(4:33)  5. Down in the Willow Garden
(2:57)  6. Who's Gonna Shoe Your Pretty Little Feet?
(3:05)  7. Oh So Many Years
(4:48)  8. Barbara Allen
(3:01)  9. Rockin' Alone (In an Old Rockin' Chair)
(4:21) 10. I'm Here To Get My Baby Out of Jail
(3:26) 11. Kentucky
(3:28) 12. Put My Little Shoes Away

Last week, I wrote about “Under the Covers, Vol. 3,” a duet album by Susannah Hoffs and Matthew Sweet that extended the pair’s tradition of covering their favorite pop songs of the sixties, seventies, and eighties. Now, there’s another duo act out there paying tribute to artists from an earlier era, but it’s radically different from “Under the Covers.” It’s “Foreverly,” a joint project of the Green Day front man Billie Joe Armstrong and the chanteuse Norah Jones.

As the not-bad pun of the title suggests, “Foreverly” is an homage to Don and Phil Everly, who, as the Everly Brothers, racked up more than a dozen Top Ten hits between 1957 and 1962, and influenced a generation of rock-and-rollers in the process. While the “Under the Covers” series is a natural extension of the solo work Hoffs and Sweet are known for, “Foreverly” seems like a surprising departure. Jones, though she came to fame as a pop-jazz vocalist, has always maintained an interest in country music, principally through her side band the Little Willies. But “Foreverly” started with Armstrong, who is known almost exclusively for Green Day’s snotty punk-pop. (The band’s only substantial departure, a side album recorded under the name Foxboro Hot Tubs, leaned a little more heavily on garage rock, but otherwise didn’t fall especially far from the tree.) Armstrong first met Jones when they both made guest appearances with Stevie Wonder’s band; when Armstrong conceived of the Everly Brothers tribute, he brought her aboard.

Everly tributes aren’t an especially rare thing. The Chapin Sisters released a full album’s worth, “A Date With the Everly Brothers,” earlier this year, and artists from the Beatles on have tried to match the duo’s preternaturally close harmonies. Paul Simon and Art Garfunkel were early graduates of the Everly academy (they would later cover “Bye Bye Love” on “Bridge Over Troubled Water”), and Nick Lowe and Dave Edmunds tacked an EP of Everly covers onto the end of the 1980 Rockpile album “Seconds Of Pleasure.” But Armstrong, a fan of the Everlys since childhood, didn’t choose to dive into the covers pool by re-recording any of the duo’s huge pop-country hits, most of which were written by Boudleaux and Felice Bryant. There’s no “Wake Up, Little Susie” here, no “Cathy’s Clown,” no “Bird Dog,” no “All I Have To Do Is Dream.” Rather, “Foreverly” is based on the duo’s 1958 album “Songs Our Daddy Taught Us,” which in turn consisted of covers of traditional and country songs originally performed by the likes of Charlie Monroe (“Down in the Willow Garden”), Tex Ritter (“Long Time Gone”), and Gene Autry (“That Silver Haired Daddy Of Mine”). Released in the wake of the brothers’ breakout debut album, “Songs Our Daddy Taught Us” was an early departure that established their country bona fides. And while “Foreverly” shifts around the track order a bit, it’s otherwise a faithful re-creation of the earlier record.

This choice of a commercially marginal (if artistically superb) record from the Everly canon works to the project’s advantage. Rather than go head to head with the brothers on their most recognizable material, Armstrong and Jones can instead focus attention on their own vocals. With the Everly Brothers, Don (the older of the two) sang the baritone parts in harmonies, as well as most of the solos, while Phil provided a tenor counterpoint. On “Foreverly,” Armstrong plays the role of Don, while Jones steps into Phil’s shoes.

From the first track, the traditional “Roving Gambler” (also recorded by Simon and Garfunkel), the remakes work in compelling ways. Armstrong does an excellent job with straightforward country singing he’s especially good at conveying loneliness and Jones provides skilled harmonies. Still, the dynamic here is considerably different from the source material. Armstrong and Jones just aren’t as close in blood, in age, in upbringing, in harmony as Don and Phil were. In addition, they’re both lead vocalists by training. And then there’s the fact that Jones, as female singers go, has a rich, sensual tone that’s quite different from Phil’s high keening. The result is a sound that leans a little more toward traditional country duets, and a little away from the unearthly harmonic choreography of the Everly originals.

On the other hand, the male-female dynamic adds a layer of romantic intrigue and sexual tension to mysterious, dark, traditional ballads like “Who’s Gonna Shoe Your Pretty Little Feet?” and “Barbara Allen” (which is augmented with a fiddle part by Charlie Burnham). Armstrong and Jones are also a bit more leisurely in approach while the Everlys put their twelve songs across in forty minutes, “Foreverly” takes fifty-three minutes. In the end, though, these are points of distinction that do not detract from the pleasures of the new record, and which in fact help it in its central mission, which is to recast Armstrong and Jones as conservators of the past and send listeners back to “Songs Our Daddy Taught Us.”~ Ben Greenman  http://www.newyorker.com/online/blogs/culture/2013/11/norah-jones-and-billie-joe-armstrong-cover-the-everly-brothers.html

Saturday, November 23, 2013

Teresa Cristina - Duetos

Size: 115,9 MB
Time: 49:36
File: MP3 @ 320K/s
Released: 2006
Styles: Brazilian Rhythms, Samba
Art: Front

01. Depois De Tanto Amor (With Paulinho Da Viola) (3:16)
02. Dona Joaninha (With Pedro Miranda) (2:55)
03. Na Aldeia (With Monica Salmaso) (5:36)
04. Coisas Banais (With Velha Guarda Da Portela) (3:40)
05. Para Ver As Meninas (With Conjunto Epoca De Ouro) (3:33)
06. Vai Com Deus (With Mariana Baltar) (3:37)
07. Tudo Se Transformou (With Elton Medeiros) (4:40)
08. Cafofo Da Surica (With Tia Surica) (3:07)
09. Argumento (With Beth Carvalho) (2:41)
10. Marcha Das Flores (With Cordao Do Boitata) (2:59)
11. Swing De Campo Grande (With Grupo Casuarina) (3:00)
12. A Banca Do Distinto (With Joanna) (2:49)
13. Pode Guardar As Panelas - Perdoa (With Velha Guarda Da Portela) (4:14)
14. Portela (With Cristina Buarque & Velha Guarda Da Portela) (3:22)

Considered one of the leaders of Carioca samba in the late '90s, Teresa Cristina has performed with the Velha Guarda da Portela, Elton Medeiros, Moacyr Luz, and Pedro Amorim. As a composer, she has written sambas with Argemiro da Portela. In 1995, Cristina participated in the project A Cria at the Planetário da Gávea hall. Having been invited by the poet Chacal, she also participated in the CEP 20.000 series. Embraced by Wilson Moreira, Cristina performed at the Casa da Mãe Joana.

Since 1999, as a member of the Grupo Semente, she performs at a "roda de samba" (samba get-together) on saturdays at the Bar Semente in Lapa (Rio de Janeiro). She is one of the artists who takes part in the rebuilding of the Lapa neighborhood, a most important region of Rio de Janeiro, witness to much of the history of samba. Cristina participated in TV Maxambomba's Puxando Conversa project, backing up (with the Grupo Semente) Jair do Cavaquinho, Argemiro da Portela, and Tia Surica. In 2000, Cristina and company performed at Eliomar Coelho's birthday at the Teatro Rival, accompanying Guilherme de Brito, Xangô da Mangueira, Nelson Sargento, Wilson Moreira, and other greats. In the same year, she and the group participated in the roda de samba weekly project at the Funarte Hall, backing up a different guest every week, such as Argemiro da Portela, Tia Surica, Tantinho, and Xangô da Mangueira.

Duetos

Eula Lawrence & The John Pierce Trio - Eula!

Size: 148,3 MB
Time: 63:45
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. What A Difference A Day Makes (5:13)
02. All My Tomorrows (5:46)
03. The Boy From Ipanema (5:07)
04. Blue Moon (4:02)
05. Crazy He Calls Me (3:29)
06. I'm Old Fashioned (4:02)
07. Lover Man (5:54)
08. I'm Glad There Is You (3:14)
09. On The Street Where You Live (3:45)
10. I Wish You Love (5:47)
11. I'd Rather Drink Muddy Water (4:34)
12. Our Day Will Come (3:49)
13. It Never Entered My Mind (5:28)
14. Secret Love (3:28)

Eula Lawrence and John Pierce will be releasing their latest Jazz title "Eula! with the John Pierce Trio" at the Regattabar this October 2nd. One of Boston’s finest vocalists, Ms. Lawrence has been a featured artist at both the Boston Globe Jazz Festival and the Toulon Jazz Festival in Toulon, France. She was a 1991 Boston Music Award nominee for Outstanding Jazz Vocalist, and has appeared an unprecedented five times at Boston’s annual gala benefit Steppin’ Out, attended by over 3,500 people. In addition to opening for such stars as Eartha Kitt, Linda Hopkins, Jim Bailey, Vic Damone, Jimmy James and Della Reese, Lawrence has performed with many of the top names in jazz, including George Benson, McCoy Tyner, Donald Byrd, Bobby Timmons, B.B. King, Johnny “Hammond” Smith, Roy Haynes and Antonio Hart.

Backing her up on this CD is a trio of Berklee College of Music faculty members led by bassist John Pierce, with Tim Ray on piano and Jon Hazilla on drums. John and Eula met working with Craig Ball’s White Heat Swing Orchestra, where Eula was the featured vocalist and John played trombone. Pierce, who is also the engineer and producer for this recording, has performed or recorded with many artists, including Lou Rawls, Tony Bennett Gladys Knight, Joe Beck, Patti Austin and J. Geils.

Eula!

Anne Weerapass - Out Of Nowhere

Bitrate: 320K/s
Time: 60:26
Size: 138.4 MB
Styles: Jazz vocals
Year: 2004
Art: Front

[5:24] 1. Out Of Nowhere
[4:32] 2. The Way You Look Tonight
[5:30] 3. So Many Stars
[5:42] 4. I've Grown Accustomed To His Face
[4:10] 5. Night & Day
[6:14] 6. He's Funny That Way
[4:01] 7. Close Your Eyes
[3:51] 8. What A Difference A Day Made
[3:53] 9. So Nice (Summer Samba)
[5:09] 10. Embraceable You
[4:10] 11. Night & Day 2
[3:51] 12. What A Difference A Day Made 2
[3:53] 13. So Nice (Summer Samba) 2

In late 2004, Jeremy Monteiro lent his jazzy touch to Renee Weerapass’ first Jazznote recording, Out of Nowhere, holding down the floor with his piano playing, while amassing support from smooth talents like Belinda Moody on doublebass, Shawn Kelley on drums, and Mohammed Noor on percussions. Saxman Koh, Bangkok’s best-selling, saxophone rising star, added the quintessential saxy touch to the Weerapass sound.

For this CD, Anne Weerapass brings her pop-singing perfected vocal into the foray of jazz, and let me assure you, it is surprisingly formidable. She possesses that jazzy voice we prize from the eras of Ella Fitzgerald and Sarah Vaughan, with a stimulating sensitivity that is firmly cultivated in the present era.

Anne’s vocalization was of utter confidence, hence rendering absolute reign over each and every song. Utterly inspiring and momentarily playful, Anne’s singing also puts one’s mind at ease at once. Never a dull moment is there in her singing, and there is not enough of her voice. Pianist and producer Jeremy Monteiro took full advantage of the company and rarity of such a vocal talent and played his piano to his heart’s content, leaving the listener gasping for more Anne. ~Constantine Soo

Out Of Nowhere

Trio Da Paz - Somewhere

Bitrate: 320K/s
Time: 60:25
Size: 138.3 MB
Styles: Brazilian jazz
Year: 2005
Art: Front

[3:46] 1. Seven Steps To Heaven
[5:49] 2. Partido Alto
[5:05] 3. Look To The Sky
[3:18] 4. Babel (Samba Novo)
[5:08] 5. Winelight
[3:53] 6. Ding Dong The Witch Is Dead
[4:27] 7. Brazilian National Anthem
[5:19] 8. Take Five
[4:14] 9. Batida Diferente
[2:57] 10. O Astronauta
[6:09] 11. Somewhere
[4:46] 12. Loro
[5:28] 13. Corcovado

The well-traveled musicians who make up Trio da Paz (guitarist Romero Lubambo, bassist Nilson Matta, and drummer Duduka Da Fonseca) have eclectic tastes that range well beyond their native Brazil -- and they choose to exercise them without restraint on this album. Starting out with Miles Davis' "Seven Step to Heaven," the trio swings back and forth between Brazil and the U.S. without a care, filtering almost everything through the bossa nova and samba idioms. The Grover Washington, Jr. hit "Winelight" takes very well to a medium-tempo bossa nova treatment. Even, so help us, "Ding Dong the Witch Is Dead" is within their range, transformed into a swift samba. However Trio da Paz give Leonard Bernstein's "Somewhere" a straightforward, American pop standard rhythm, perhaps because they couldn't figure out how to Brazilian-ize it, and the off-kilter three-quarter meter take on the five-four meter "Take Five" nearly stumbles on itself. Among the Brazilian-made tunes, there is some exquisite out-of-the-way Antonio Carlos Jobim ("Look to the Sky") as well as standard-issue Jobim "Corcovado"), rapid-fire Baden Powell in "Babel (Samba Novo)" and "O Astronauta," and a marvelous treatment of Durval Ferreira's "Batida Diferente." Whatever the sources of the material, this trio generates combustible fission that many of today's post-bossa nova recordings don't have. ~Richard S. Ginnell

Somewhere

Debby Boone - Swing This

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 46:49
Size: 108,2 MB
Art: Front

(3:01)  1. Sway
(4:08)  2. That Old Black Magic
(4:29)  3. More Than You Know
(2:24)  4. I'm Gonna Live Till I Die
(3:24)  5. These Boots Are Made for Walkin'
(4:21)  6. Cry Me a River
(3:20)  7. Sing Sing Sing
(3:04)  8. I'm Waiting Just for You
(3:30)  9. Everybody Loves Somebody
(2:02) 10. Get Me to the Church on Time
(2:34) 11. Mack the Knife
(4:36) 12. Round Midnight
(2:42) 13. You & the Night & the Music
(3:09) 14. Be Careful It's My Heart

Debby Boone earned instant fame with her first single, "You Light Up My Life," which claimed the Number One spot on the Billboard chart for ten consecutive weeks in 1977. She earned a Grammy for Best New Artist that year and has since won two additional Grammys and seven Grammy nominations. Debby has starred on Broadway and brings her latest show, "Swing This," to the Knight Theater to celebrate timeless classics such as "Sing Sing Sing," "Cry Me A River," "Mack The Knife" and more. 
http://events.charlotteobserver.com/charlotte_nc/events/show/348873343-debby-boone-swing-this

Jeremy Monteiro (Feat. Jacintha) - A Song For You, Karen

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 70:18
Size: 161,1 MB
Art: Front + Back

(8:49)  1. A Song For You
(5:52)  2. When I Fall In Love
(5:26)  3. This Masquerade
(5:42)  4. We've Only Just Begun
(4:03)  5. Top of the World
(3:26)  6. For All We Know
(6:28)  7. Rainy Days And Mondays
(3:57)  8. There's A Kind Of Hush
(4:38)  9. All You Get From Love Is A Love Song
(5:43) 10. I Won't Last A Day Without You
(4:10) 11. They Long To Be - Close To You
(6:30) 12. Yesterday Once More
(5:28) 13. A Song For You (Instrumental)

"I think I have a very good idea for a special album." Jeremy was comfortably seated, leaning back in a couch. It was late in a gorgeous spring afternoon in 2001. We were sitting out in the garden just relaxing and listening to the sounds of the nature.

"Jeremy" was Jeremy Monteiro, my good friend, who had just flown in from Singapore to Seattle for a few days. Before long, he would be leaving for Chicago to do some recording.

"What is it?" I was tempted to ask when he closed his eyes again. He sat up and spoke in a serious manner. "Next year will be the 30th anniversary of ‘The Carpenters.’ People of our age grew up with all those beautiful songs by Karen Carpenter. If we could produce an album of some of those great songs - say, in a jazz format - as our tribute to The Carpenters, it would be wonderful."

"You mean just instrumentals, but no vocals?" Skeptical, I hesitated. "Sure. What’s wrong with that?" He looked surprised. "You know all audiophiles love female vocals, particularly on songs by Karen Carpenter. However, it is not easy to find someone who can come close to what she does." (I guess I’d have to admit that I was not optimistic!)

Jeremy thought for a while and then jumped up. In this case, why don’t we invite Jacintha to do it? I’ve known her since childhood, and she often sang the music of The Carpenters. She loves those songs! Jeremy was really excited. In the next five minutes Jeremy was talking on the phone to Jacintha in Singapore. To my surprise, she was overjoyed, and accepted the invitation without a second thought! Better yet, Jeremy was even able to get the award-winning "Two for Brazil" duo to sing one song, adding a delightful Latin American flavor to this album.

So here it is: a jazz tribute album to the music of the Carpenters, as Jeremy wanted - but with Jacintha singing in a stunning way, as I wanted! ~ Winston Ma/First Impress  http://afrolatincubanjazz.blogspot.com.br/2010/09/jeremy-monteiro-trio-jacintha-song-for.html

Personnel:  Jeremy Monteiro, arrangement & piano; Eric Schneider, saxophone; Paul Martin, double-bass; Tim Davis, drums; Jacintha, vocals; Two For Brazil.

A Song For You Karen