Clara Ponty - Into The Light

Bitrate: 320K/s
Time: 43:49
Size: 100.3 MB
Styles: Piano jazz
Year: 2011
Art: Front

[4:40] 1. Taking Turns
[3:57] 2. Sunshine
[3:48] 3. Like A Dandelion
[3:22] 4. The Path
[3:08] 5. Soul Wonders
[3:49] 6. Take Me Along
[4:35] 7. Spinning Wheels
[3:54] 8. You
[3:42] 9. The Phoenix
[3:37] 10. Coeur A Coeur
[5:12] 11. Ses Racines Sur La Route

The pianist, singer and composer Clara Ponty's diverse musical background is the source of inspiration for the development of her unique musical body of work. Born in Paris and raised in Los Angeles, Clara was immersed in many musical genres thanks, in large part to her father, world-renowned jazz violinist and composer Jean-Luc Ponty. She began studying violin and piano when she was five, wrote her first piece when she was eight and won her first piano competition at age 11.

The classically-trained pianist (Interlochen Arts Academy, Maryland Conservatory and USC) abandoned competitive performing in her early twenties to focus on writing. Clara's career was officially launched with her 1997 self-titled debut recording for Universal Records. It featured the artist performing original works for solo piano. It was followed in 1999 by "The Embrace" (Universal Records) on which Clara Ponty communicated her depth as a composer, pianist and vocalist with ten new original works. Both recordings met with critical acclaim (People", "Forbes magazines", Time Out) which revealed her as a soulful artist that creates unique, delicate and emotionally intense compositions.

Into The Light

---

Django's Cadillac - S/T

Bitrate: 320K/s
Time: 45:45
Size: 104.7 MB
Styles: Gypsy jazz
Year: 2003
Art: Front

[4:17] 1. Dog Mountain
[3:26] 2. Metolius
[7:31] 3. Bossa Delano
[5:56] 4. Minor Swing
[5:19] 5. Angel Eyes
[4:43] 6. Smooth One
[4:46] 7. Y Knot
[3:59] 8. What Makes Bob Hollar
[3:23] 9. Sammy's Freilich
[2:19] 10. Django's Cadillac

The gypsy jazz of Django Reinhardt and Stefan Grapelli served as the starting point for the musical journey of Django's Cadillac. Stops along the way have included traditional gypsy guitar and Parisian musettes from the pre war era, classic klezmer tunes, western swing music, and a journey back across the Atlantic to the Great American Songbook, which serves as the bulk of the traditional gypsy jazz repertoire. There, they've found a home in the interpretations of the great American masters such as Louis Armstrong, Ella Fitzgerald, and Nat King Cole and even an occasional stop at Motown or Memphis. From this vantage point, they are creating a new music, familiar and fresh at the same time; the kind of music that encourages you to sit back on a Sunday morning, turn on the radio and, as the tubes warm up and start to deliver that soft, amber glow, be transported back to a simpler time by the velvety vintage sounds coming your way.

Django's Cadillac

---

Various Artists - Putumayo Presents New Orleans

Styles: New Orleans Jazz
Year: 2005
File: MP3@320K/s
Time: 47:35
Size: 110,0 MB
Art: Front

(4:29)  1. Kermit Ruffins - Drop Me Off In New Orleans
(3:20)  2. Doc Cheatham & Nicholas Payton - Gotta Right To Sing The Blues
(2:06)  3. Louis Prima - Basin Street Blues
(4:49)  4. Preservation Hall Hot 4 with Duke Dejan - Wrap Your Troubles In Dreams
(5:07)  5. Topsy Chapman And The Pros - Baby Won't You Please Come Home
(3:24)  6. Kevin Clark And The Jazz Revelation - The Devil Done Got Me Blues
(2:59)  7. Louis Armstrong - Tin Roof Blues
(4:27)  8. Dr. John - Basin Street Blues
(6:03)  9. Dr. Michael White - Give It Up (Gypsy Second Line)
(2:45) 10. Deacon John - Going Back To New Orleans
(8:02) 11. Gregg Stafford & Dr Michael White - Bye & Bye - Saints

Putumayo provides a nice introduction to Nawlins jazz here, with a pretty good mix of the classic and the contemporary. The music remains, despite its era or performer, fully of the New Orleans style. The patron saint of the city, as well as the genre, Louis Armstrong, is presented with one of his later recordings with an all-star band in 1966 (it's somewhat disappointing not to hear the Hot Fives or Sevens, but this one still ain't bad). Other mainstays of the city are here as well, with Dr. John playing "Basin Street Blues" as only he could, following a rendition of the same song by Louis Prima. Doc Cheatham's here with some classic vocals as well. 

Beyond the well-known, though, there are some members of the newer groups of influence here. Kermit Ruffins has become a contemporary revivalist of the old sound and starts off the album as such. Kevin Clark and Michael White provide contemporary versions of the classic style as well. Through and through, it's a fine introduction to a given genre. It's surprising not to hear anything from the Nevilles or the Marsalis royalty, but what's here is fine listening.  ~ Adam Greenberg   http://www.allmusic.com/album/putumayo-presents-new-orleans-mw0000359421

Putumayo Presents New Orleans

---

Miles Davis - We Want Miles

Styles: Jazz
Year: 1981
File: MP3@320K/s
Time: 76:58
Size: 176,3 MB
Art: Front

(10:39)  1. Jean-Pierre
( 8:14)  2. Back Seat Betty
(15:12)  3. Fast Track
( 3:56)  4. Jean-Pierre
(20:20)  5. My Man's Gone Now
(18:35)  6. Kix

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre."  ~ Scott Yanow  

http://www.allmusic.com/album/we-want-miles-mw0000022719             

We Want Miles

---

8½ Souvenirs - Happy Feet

Styles: Retro Swing, Alternative Country-Rock
Released: 1995
Label: RCA
File: mp3 @320K/s
Size: 122.4 MB
Time: 47:41
Art: full

1. Happy Feet - 2:55
2. Kazango - 3:41
3. No Lo Visto - 3:45
4. It's All Right With Me - 3:49
5. Minor Swing - 2:59
6. Le Poinconneur Des Lilas - 2:54
7. Black Trombone - 4:56
8. Place de Brouckere - 3:11
9. After You've Gone - 3:52
10. Come Di - 4:47
11. Blues En Mineur - 5:08
12. Botch-A-Me (Ba-Da-Baciani-Piccina) - 2:25
13. Brazil - 4:27
14. Y La Chalupa Va - 2:10

Notes: 8½ Souvenirs was an American swing jazz band active from approximately 1993 to 2000 and based in Austin, Texas. The band was signed to the RCA Victor label and had two releases under that label, as well as two other releases under Austin, Texas indie labels.
The band was named in tribute to the Federico Fellini film 8½ and the Django Reinhardt song "Souvenirs." The band was instrumental in that city's 1990s Swing Revival dance scene centered at the Continental Club. The band was notable for its Django Reinhardt, gypsy jazz and other European influences.
The band met with limited commercial success although it was featured on Austin City Limits broadcast in April, 1998.
They have four releases
Happy Feet (1995 - RCA Victor)
Souvonica (1997 - Continental Club music )
Twisted Desire (1999 - RCA Victor)
Live Memories (2000 - Giraudo Records)
The band lineup evolved over the years. During different periods, the personnel included:
Olivier Giraud (guitar, vocals) The founder and key member of the Souvenirs. Now a member of the band Paris 49.
Tony Balbineau (vocals, rhythm guitar)
Todd Wulfmeyer (bass)
Kathy Kiser (vocals)
Glover Gill (piano)
Adam Berlin (drums)
Juliana Sheffield (vocals)
Kevin Smith (bass)
Justin Sherburn (piano)
Rob Kidd (drums)
Chrysta Bell (vocals)

Happy Feet

---

Candice Corbin, Teresa Fischer, Andrew David Sotomayor - Christmas Is...

Size: 98,4 MB
Time: 42:30
File: MP3 @ 320K/s
Released: 2013
Styles: Holidays
Art: Front

01. This Endris Night (2:04)
02. That Spirit of Christmas (3:24)
03. Still, Still, Still - Silent Nigh (3:15)
04. I'll Be Home For Christmas (2:09)
05. Christmas Boo (3:08)
06. The Christmas Wish (3:35)
07. Last Christmas (3:52)
08. Please Don't Make Me Sing A Christmas Ballad (3:20)
09. O Holy Nigh (3:36)
10. We'll All Meet Up Next Year (3:05)
11. Christmas Is... (2:34)
12. My Epiphany (5:07)
13. Pretty Little Dolly (3:14)

The sublime sits side by side with samples of the ridiculous—meaning silly—on Christmas Is ... It underscores the fact that the holiday can bring out the reverent beauty in song, praising the birth of Jesus, as well as deign to dishing about the more mundane secular habits. Dwelling on diversions of gift-giving and getting, parties and pairing-up pale in comparison to the stark beauty and simplicity highlighted so successfully in the serious numbers.

Sharing the bill, taking turns with solos or lead vocals while the other two provide back-up and harmonies ,are Candice Corbin, Teresa Fischer, and Andrew David Sotomayor, also the very capable pianist and musical director/arranger. He's a popular go-to guy for New York City cabaret shows, oft seen behind the keys at The Duplex, and contributes four originals, one a comical collaboration with the ever-likeable and feisty Fischer who sings it: "Please Don't Make Me Sing a Christmas Ballad" that grouses its self-explanatory titular position. His title song for this album lists tender and heart-revealing pictures of what "Christmas Is" ("No matter the way that you choose to believe, the love of the season is yours to receive, in a world that's so harried and littered with fear ..."). He leads the number with an especially sensitive vocal. Guest soloist Christian Smythe on oboe plays a powerful line, but it feels globbed on, too forward in the mix, rather than fully integrated and woven in. Sotomayor's own "Christmas Boo" finds him singing about potential love partners he's choosing among, as in a pageant; it starts nicely with its verse, but I find its charms resistible as he goes on about resisting most of their charms. His "My Epiphany" tries for a combination of straightforward appreciation of tradition with some offhand remarks about worldwide customs which I suspect work better in their in-person gigs.

Teresa makes her down-home sensibilities and slyness score with a folksy, frank look on the potential, and future potential, of holiday get-togethers in "We'll All Meet Up Next Year," a rouser and spirit-raiser written by Deirdre Flint. And, in the album's comedy highlight, she garners giggles with the snide look at the gift of the "Pretty Little Dolly" that can oh-so-cutely do everything oh-so pleasant and unpleasant. She has a field day with this Mona Abboud novelty number, but she can pull her weight in some straight-faced, straight-laced chores, too, and as a team player.

Candice Corbin invests contemporary soul into the proceedings with impressive stylizations. While I kept hoping she'd raise the roof all the way, her voice is a pleasure wrapping itself around the varied selections. She takes George Michael's self-penned hit "Last Christmas" and phrases it maturely, in a way to make the words and feelings command more attention. This is partly due to a more thoughtful tempo that avoids a see-saw melodic sameness. Her forceful vocal on "I'll Be Home for Christmas (If Only in My Dreams)" comes packaged with an invigoratingly lively (!), but not wholly convincing, arrangement, robbing it of its inherent bittersweet uncertain outcome.

So, Santa's bag is decidedly a mixed one here, but the very first track, with Andrew David Sotomayor leading vocally with the ancient carol "This Endris Night," is such a stunning beauty that I had to play it three times before being able to move on. It's simply gorgeous and his voice has a wondrous purity which cuts through everything and is breathtaking. This is an adventurous holiday collection that gets points for thinking outside the usual gift box. ~Rob Lester

Merry Xmas to you all

Christmas Is...

---

Sarah Shea - The Nearness Of You

Bitrate: 320K/s
Time: 48:45
Size: 111.6 MB
Styles: Easy Listening
Year: 2011
Art: Front

[3:42] 1. Fever
[4:28] 2. I've Got You Under My Skin
[3:38] 3. Cheek To Cheek
[4:18] 4. These Foolish Things
[3:49] 5. Summertime
[4:36] 6. I Got It Bad And That Ain't Good
[3:39] 7. East Of The Sun
[4:13] 8. Cry Me A River
[4:42] 9. Quiet Nights Of Quiet Stars
[4:51] 10. My Romance
[3:55] 11. Sunny
[2:49] 12. The Nearness Of You

Sarah Shea has been dreaming about this day since she was a little girl. She remembers sitting in the cart and singing the letters S-A-F-E-W-A-Y in perfect pitch at the store while her mother shopped. As she got older, she’d harmonize to the lifts while skiing. Ever since she can remember, music was “in” her.

Now, after years of hard work, determination and more than a few bumps in the road, Shea, 34, will celebrate the release of her first album, “The Nearness of You,” during Wine on the Waterfront at The Landing Mall in Port Angeles at 7:30 p.m., Saturday, July 30. She invites all her friends, family and fans to join the fun. “I’m very excited about this CD,” Shea said. “I’ve wanted to make a CD for a number of years but it always just seemed out of reach.”

With the exception of the first song, “Fever,” all of the vocals were recorded in Sequim. “Fever” was completed in one take and left unedited. Shea describes the track as purposely “raw.” Accompanying Shea on the CD are Craig Buhler on the saxophone, clarinet or flute and Al Harris on the piano. Buhler and Harris joined forces with Shea in 2009 to form Chez Jazz, a local performing band.

“I’m very proud of this CD because it really is a first-class CD and one that anyone could listen to,” Shea said.

The Nearness Of You

---

Tom Saunders' Wild Bill Davison Band - Exactly Like You

Bitrate: 320K/s
Time: 79:30
Size: 182.0 MB
Styles: Dixieland
Year: 1995
Art: Front

[ 4:05] 1. Sleep
[ 7:10] 2. Someday You'll Be Sorry
[ 2:58] 3. Milenberg Joys
[ 3:43] 4. Echoes Of Spring
[ 6:19] 5. Struttin' With Some Barbecue
[ 3:17] 6. I'm Crazy 'bout My Baby
[ 6:00] 7. Smiles
[ 6:50] 8. If I Could Be With You (One Hour Tonight)
[ 7:42] 9. Doin' The New Low Down
[12:04] 10. Exactly Like You
[ 6:58] 11. Home
[ 5:31] 12. Beale Street Blues
[ 6:46] 13. I Never Knew

This enjoyable concert not only features cornetist Tom Saunders' "Wild Bill Davison Legacy Band" (consisting of Saunders, trombonist Bill Allred, clarinetist Chuck Hedges, tenor saxophonist Danny Moss, pianist Johnny Varro, guitarist Marty Grosz, bassist Isla Eckinger and drummer Butch Miles), but three numbers showcase the frontline of cornetist Dick Sudhalter, trombonist Roy Williams and baritonist John Barnes. All three reeds are heard on "Exactly Like You," and the full 11-piece group romps on the final three numbers; in addition, Jeanie Lambe has a spirited vocal on "Milenburg Joys." Although no one ever duplicated the sound of Wild Bill Davison (Ernie Carson has come the closest), he would have enjoyed this outing by his associates. Highlights include "Sleep," Varro's piano feature on "Echoes of Spring," "Struttin' With Some Barbeque," "Doin' the New Lowdown" and a riotous version of "Beale Street Blues." ~Scott Yanow

Exactly Like You

---

Jorge Ben - Puro Suingue

Bitrate: 320K/s
Time: 43:38
Size: 101.1 MB
Styles: Brazilian jazz
Year: 2000
Art: Front

[3:01] 1. Que Pena (Ela Já Não Gosta Mais De Mim)
[2:35] 2. Take It Easy My Brother Charles
[4:04] 3. Que Maravilha
[2:34] 4. Bebete Vãobora
[3:03] 5. Chove Chuva
[3:48] 6. O Telefone Tocou Novamente
[2:58] 7. Mas Que Nada / De Manhã
[3:02] 8. Rita Jeep
[3:29] 9. Criola
[2:54] 10. Se Segura Malandro
[2:45] 11. Por Causa De Você, Menina
[3:32] 12. Que Nega E Essa
[2:41] 13. Minha Teimosia, Uma Arma Pra Te Conquistar
[3:06] 14. Taj Mahal

Jorge Ben is a brazilian musician born March 22, 1942, in Rio de Janeiro, Brazil (in 1988, Ben changed his name to Jorge Ben Jor, due to the fact that the international rights for his songs were going to George Benson). Jorge Ben, considered the father of Brazilian soul (together with Tim Maia, who came next), rose to fame with his album Samba Esquema Novo (1963). His music has a very particular style, which fuses samba, funk and rock; his lyrics blend humor and satire and is sometimes reminiscent of the themes of Rio de Janeiro’s samba schools.

PURO SUINGUE features 14 favorites from Brazilian music great Jorge Ben including "Que Maravilha" and "Rita Jeep." Greatest hits compilation featuring 'Bebete Vaobora,' 'Quepena,' 'Chove Chuva,' 'se Segura Malandro,' 'O Telefone Tocou Novamente,' 'Que Nega E Essa,' 'Criola' and 'Taj Mahal.'

Puro Suingue

Gerri DiMaggio - Comes Love

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 39:52
Size: 92,5 MB
Art: Front

(4:26)  1. Like Someone In Love
(4:49)  2. The Man I Love
(2:58)  3. Sway
(4:06)  4. Comes Love
(4:56)  5. O' Barquinho (MyLittle Boat)
(4:29)  6. Stolen Moments
(5:48)  7. Sem Compromisso
(3:23)  8. East Of The Sun (And West Of The Moon)
(4:54)  9. Moody's Mood For Love

Gerri DiMaggio's smoky alto voice gives her an edge when she sings romantic songs, so this program of standard love songs seems made just right for her vocal style. With a stellar piano trio in support, as well as a guest trumpeter on two selections, DiMaggio explores a lasting love story. Her delivery swings, her interpretations are cool, and she allows plenty of space for the music to breathe. From Madison, Wisconsin, DiMaggio is familiar with techniques for communicating effectively with an audience. Her blend of Brazilian strolls and pages from the Great American Songbook gives variety to Comes Love. Her interpretation of "Moody's Mood for Love, in particular, offers a special delight that straight-ahead jazz fans will enjoy. DiMaggio's session takes the listener for a stroll along palm-lined beaches and rural stretches where crowds have the day off. It's just her and the music and plenty of cool swing. "Stolen Moments drives nonchalantly with no hint of a schedule, while "East of the Sun moves fluidly at a faster pace toward romantic promises. It's a light program. Several selections feature DiMaggio's interpretation of Portuguese lyrics. "Comes Love represents one of the session's numerous high points. DiMaggio delivers her message coolly, calmly and collectedly, allowing its romantic spirit to take center stage. ~ Jim Santella   http://www.allaboutjazz.com/php/article.php?id=22165#.Urg56bRc9sg

Personnel: Gerri DiMaggio: vocals; Paul Hastil: piano; John Mesoloras: bass; John Becker: drums, percussion; Dave Cooper: trumpet.

Comes Love

---

Alexis Cole - The Greatest Gift

Styles: Holiday
Year: 2009
File: MP3@320K/s
Time: 54:45
Size: 125,7 MB
Art: Front

(5:30)  1. Joy To The World
(5:20)  2. Jeanette Isabella-The Call
(2:41)  3. God Rest Ye Merry, Gentlemen
(3:35)  4. Hark! The Herald Angels Sing
(5:26)  5. Rise Up, Shepherd, And Follow
(5:39)  6. Have Yourself A Merry Little Christmas
(0:47)  7. Christmas Time Is Here (Prelude)
(3:25)  8. Christmas Time Is Here
(3:53)  9. What Child Is This
(4:12) 10. O Come, O Come, Emmanuel
(3:12) 11. Away In A Manger
(3:54) 12. Silent Night
(3:42) 13. Happiest Christmas
(3:21) 14. Jesus Is The Best Part Of Christmas

Award-winning vocalist Alexis Cole is getting ready for Christmas with The Greatest Gift. The disc features 14 tracks, including original songs and some Christmas favorites such as "Joy to the World," "Hark! The Herald Angels Sing," "Have Yourself a Merry Little Christmas," "Away in a Manger," and "Silent Night." The titles may be familiar, but Cole's unique interpretation turns the songs into jazz, blues and classical music all highlighting her warm and rich vocals, so emotive they register in the keys of love and gratitude.

Inspiration for the disc's title came from her father, singer/composer Mark Finkin, who in 2007 performed at a recital called "The Greatest Gift" during his long-awaited college graduation festivities. It was around this time that Cole rededicated herself to the church and ultimately to music. Inspired by her religious feeling and the Christmas holiday, Cole is dedicating part of the sales from The Greatest Gift to the World Bicycle Relief Fund, an organization that raises money in support of disaster aid.

Standout performances include the disc's opening selection, an up-tempo instrumental of "Joy to the World"; "Jeanette Isabella/The Call," which includes original songwriting by Cole in a spiritual "call" to celebrate all children; a bluesy version of "God Rest Ye Merry, Gentlemen," featuring vocals by Cole and her father; "Hark! The Herald Angels Sing," done with a Caribbean twist; "Rise Up, Shepherd, and Follow," an African-American spiritual reinvented to include Indian music; and "The Happiest Christmas," a stripped-down, bare-bones performance with piano, violin and Cole's vocals.

Expressions of charity and goodwill are sprinkled throughout the disc, from the liner notes to the enhanced CD featuring videos of the World Bicycle Relief fund. It's one thing to reference the celebration of Jesus in an album title, and quite another to honor love and community with the album itself. The Greatest Gift is more than jazzed-up Christmas music it's a gift that comes from within ~ Bridget Arnwine  http://www.allaboutjazz.com/php/article.php?id=34669#.UrjOM7TJI0g

Personnel: Alexis Cole: vocals; Mark Finkin: vocals, piano; St. Paul's Children's Choir: vocals; St. James' Quartet: harps; Greg Frens: vocal; Don Brayden: sax; Christian Howes: violin; Warren Chasson: vibraphone; Alan Ferber: trombone; Jon Cowherd: piano; Jeff Haynes: percussion; Jessie Lewis: guitar; Ike Sturm: bass; Fred Kennedy: drums; Gottfried Stoger: sax; John Menegon: bass; Alvin Atkinson: drums; Kumar Das: tablas; Pir Shabda Khan: tambura; Zach Brock: violin; Andie Springer: violin; Beth Meyers: viola; Jody Redhage: cello; Warren Chasson: vibes; Tedd Firth: piano.

The Greatest Gift

---

Lyne Tremblay - Break' N Enter

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 52:13
Size: 119,6 MB
Art: Front

(4:21)  1. Here's To You
(5:10)  2. J'attendrai
(5:20)  3. Silently
(2:20)  4. Le Jazz Et La Java
(4:57)  5. Caravan
(4:58)  6. Couleur Cafe
(4:40)  7. Just Call Me Love Bird
(4:13)  8. Do You Miss Me
(3:33)  9. La Chanson Des Vieux Amants
(3:35) 10. Entropy Means Nothing To Me
(4:49) 11. Break ' Enter
(2:10) 12. Tout Mais Pas CA
(2:01) 13. J'attendrai (Reprise)

With all the experience she has gained on stage and in cabaret, Lyne Tremblay has become an accomplished singer. She is at ease with show tunes (her credits include playing Sally Bowles in Cabaret and Cassandra in Cats.) and pop songs, but it is her way with a jazz tune that carves the notch on her pillar of accomplishments. Tremblay has an adept sense of phrasing, shaping the words, creating the right texture and capturing the moment with aplomb.

The songs here have an impressive range and include those written by Jacques Brel, Serge Gainsbourg and Duke Ellington, whom she picks for “Caravan” sung in French and English. Set off by a Middle Eastern sax sound and percussion, Tremblay brings in a seductive presence as she lets the song undulate and sway. With Scott Marshall adding some clean, inventive lines on the clarinet this turns out to be quite the delight.

Another attribute is the way Tremblay meshes with the musicians. They play along as she sings, adding an indelible adjunct, blending as one, interweaving voices and giving the songs a very welcome depth and groove. The Gainsbourg tune, “Couleur Café,” latches on right from the moment Guido Basso brings it in on the flugelhorn, his tone flowing in buttery richness and Geordie Haley taking it home on the guitar with a range of scintillating ideas. And hand it to Tremblay for her sense of timing and emphasis on the sensuous “Just Call Me Lovebird,” where the jazz landscape is extended by Marcell Aucoin on piano through a stream of rich harmonic permutations. The different sides of Tremblay are worthy of attention. ~ Jerry D' Souza 

http://www.allaboutjazz.com/php/article.php?id=12584#.UrYwbOJc9sg

Break' N Enter

---

Ehud Asherie - Welcome To New York

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 62:24
Size: 142,9 MB
Art: Front

(4:23)  1. Drop Me Off In Harlem
(4:27)  2. Manhattan Serenade
(3:52)  3. 52nd Street Theme
(5:47)  4. Autumn In New York
(4:45)  5. 42nd Street
(4:56)  6. Lullaby Of Broadway
(6:10)  7. Somewhere
(4:08)  8. Harlem Bound
(3:58)  9. Lovers In New York
(6:53) 10. Lonely Town
(3:34) 11. Harlem Strut
(4:29) 12. Manhattan
(4:57) 13. Take The 'a' Train

On Welcome to New York, his first-ever solo-piano collection, Asherie’s mastery of various masters’ styles, from Waller and Tatum and Dave McKenna on down, puts him in the elite group of heritage pianists who rode in on the wave of Wynton Marsalis traditionalism. The 13-tune playlist here is resourcefully thematic, not necessarily extolling New York as Asherie raids the Bernstein songbook for two more nuggets, “Lonely Town” and “Somewhere.” The latter ballad builds to a rhapsodic fantasia after a hushed, cathedral-like intro, cresting as Asherie tellingly floats the aching yearning of his right hand over the dark fatality of his left.

Duke Ellington’s “Drop Me Off in Harlem” begins the Gotham travelogue with a hazy saloon-hall ambiance, and Billy Strayhorn’s “Take the ‘A’ Train” swings us out. In between we’re treated to choice interpretations of Monk’s “52nd Street Theme,” James P. Johnson’s challenging “Harlem Strut” and Rodgers and Hart’s anthemic “Manhattan.” Nothing stomps quite as hard as Asherie’s electrifying “42nd Street” when it reaches full steam before a graceful landing that duly honors the stop-time “Naughty, bawdy, gaudy, sporty” coda on the lyric sheet. Even more artful, Asherie expresses the wistfulness of Vernon Duke’s “Autumn in New York” by nostalgically quoting Gershwin’s “Summertime.” Dedicated students of the art form will then recognize the Hank Jones vamp that framed the opening track of Cannonball’s Somethin’ Else, “Autumn Leaves.”

Little delights like that are sprinkled everywhere, like Monk’s “Well, You Needn’t” in the middle of “Lullaby of Broadway” and a drop-by from the “Marines’ Hymn” in “52nd Street Theme.” Asherie studied hard for his first solo test.  ~ Perry Tannenbaum   

http://jazztimes.com/articles/27437-welcome-to-new-york-ehud-asherie

Welcome To New York

---

Kermit Ruffins - Have a Crazy Cool Christmas

Styles: New Orleans Jazz
Label: Basin Street Records
Released: 2009
File: mp3 @320K/s
Size: 136,2 MB
Time: 59:29
Art: front

1. Silent Night - 5:18
2. Santa Clause is Coming to Town - 5:15
3. What Will Santa Say When He Finds Everybody Swingin' - 3:32
4. O Christmas Tree - 3:16
5. Baby It's Cold Outside - 4:24
6. A Saints Christmas - 5:04
7. Let it Snow, Let it Snow, Let it Snow - 4:22
8. Little Drummer Boy - 6:34
9. Silver Bells - 5:17
10. Crazy Cool Christmas - 5:04
11. Winter Wonderland - 4:05
12. This Christmas - 3:55
13. Jingle Bells - 3:17

Personnel:
Kermit Ruffins (vocals, trumpet)
Troy "Trombone Shorty" Andrews (trombone)
Matt Lemmler (piano)
Irvin Mayfield (organ)
Herlin Riley (drums)
Vincent Broussard (Tenor Sax)
Neal Caine (Bass)
Corey Henry (Trombone)
Derrick Tabb (Snare Drums)
Eric Traub (Tenor Sax)

Notes: Kermit Ruffins’ role as the Bard of Good Times in New Orleans has led him into some musically dubious spots, places where clichés rule. Have a Crazy Cool Christmas suits him beautifully because it lets his personality dominate, and his exuberant sense of fun carries the day. You can hear his smile when he sings, “Santa Claus is swingin’ to town,” and when he sneaks the pick-up to “They All Asked for You” into “O Tannenbaum.” Throughout, the band swings with authority—a given on Ruffins’ albums—even at a breakneck pace on his version of Louis Prima’s “What Will Santa Say (When He Finds Everybody Swinging?).”
In a stroke of prescience, Ruffins wrote a new Christmas song, “A Saints Christmas.” Like many of his originals, the song’s success depends on the goodwill of his audience; those who love the sentiment will excuse some easy lines, and those who don’t, won’t. Fortunately for Ruffins, his songs comes out during the Saints’ best start ever, far stronger than it was in 2004 when Greg Barnhill and New Birth Brass Band cut “All I Want for Christmas is the Saints to Win.” The offhanded vibe that comes through on Ruffins’ album is part of his charm. There are points, though, where that borders on slack. The album includes a version of Donny Hathaway’s “This Christmas” with Rebirth Brass Band, and they move the song to the street parade vibe beautifully, remaking an intimate track as a public celebration. But the song’s key is too high for Ruffins and he flounders with the high notes in the chorus. Fortunately, the version only includes one verse and chorus, so the moment passes, but it’s a sour note—literally—near the end of an album that in most ways is a fine addition to any Christmas collection.

Have a Crazy Cool Christmas

---

Chet Atkins - Jingle Bell Rock (Special Days)

Bitrate: 320K/s
Time: 31:01
Size: 71.0 MB
Styles: Holiday
Year: 2013
Art: Front

[3:24] 1. The Coventry Carol God Rest Ye, Merry Gentlemen
[1:48] 2. Jingle Bell Rock
[1:48] 3. Jingle Bells
[2:13] 4. Jolly Old St. Nicholas
[2:17] 5. O Come All Ye Faithful
[2:20] 6. White Christmas
[1:54] 7. Hark! The Herald Angels Sing
[2:47] 8. Winter Wonderland
[2:09] 9. Silver Bells
[2:00] 10. Silent Night
[1:45] 11. The First Noel
[2:27] 12. Little Drummer Boy
[1:12] 13. Deck The Halls
[2:51] 14. Blue Christmas

Jingle Bell Rock (Special Days)

---

Andre Previn & David Finck - We Got It Bad: An Ellington Songbook

Bitrate: 320K/s
Time: 72:28
Size: 165.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[5:35] 1. Take The A Train
[4:42] 2. Isfahan
[3:49] 3. I Got It Bad (And That Ain't Good)
[6:09] 4. Do Nothin' Till You Hear From Me
[6:29] 5. Chelsea Bridge
[6:51] 6. Things Ain't What They Used To Be
[5:18] 7. In A Sentimental Mood
[4:37] 8. Squatty Roo
[4:31] 9. Come Sunday
[6:36] 10. Serenade To Sweden
[6:08] 11. I Didn't Know About You
[7:43] 12. In A Mellow Tone
[3:54] 13. It Don't Mean A Thing (If It Ain't Got That Swing)

Previn has always been an adept, if not brilliant, pianist whose jazz leanings have belied his classical training. Here he interprets the music of Duke Ellington and Billy Strayhorn lovingly and as well as any legit jazzster could, with help from the fine bassist David Finck. While this music can easily stand on its own, Previn's technical ability and heartfelt stretching of the original blueprints urge these well-worn tunes to carry new meaning and substance. If there are any stock treatments here, it's because the pianist tends to lay back and let the melodies come to him, as evidenced on the steady-paced "Isfahan," the easy "Serenade to Sweden," and the even easier swung "I Didn't Know About You." Previn wrings every emotional drop out of "In a Sentimental Mood," dismisses a time frame for the pristine "I Got It Bad" and "Come Sunday," while Finck is in late for the pensive "Chelsea Bridge." Melody is more implied with tempos at half and full speed on "It Don't Mean a Thing," Previn uses an off-minor change-up on the good swinger "Things Ain't What They Used to Be," and swaps 4/4 in the bridge for a waltzing 3/4 head and tail on "Take the A Train." Obviously an admirer of Oscar Peterson, Previn takes liberties and risks on the easy swing take of "In a Mellow Tone," trades ripped-up lines with the capable Finck, counter-punching during "Do Nothin' 'Til You Here From Me," and fervently digs into the up-tempo "Squatty Roo." Perhaps Previn's voracity is not well known, or as regarded in the modern jazz world as it should be, but on this recording it's clear how great he can be. This second CD with Finck, the previous being a Gershwin songbook "We Got Rhythm," signifies a step up for the veteran pianist, and is perhaps his shining recorded hour. Recommended. ~Michael G. Nastos

We Got It Bad: An Ellington Songbook

---

Judi D. - Nightshade

Bitrate: 320K/s
Time: 51:08
Size: 117.1 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[4:21] 1. Tenderly
[6:15] 2. Love Dance
[4:42] 3. You've Changed
[4:20] 4. Out Of This World
[5:34] 5. Sophisticated Lady
[7:03] 6. Up Jumped Spring
[4:18] 7. If You Went Away
[4:11] 8. Weaver Of Dreams
[3:11] 9. All Of Me (A La King Pleasure)
[3:54] 10. Small Feats
[3:15] 11. A House Is Not A Home

While there are plenty of jazz survivors—indomitable artists thriving in their 70s and 80s—Miami-based Judith Dubowsky can proudly claim that survival opened her path to a jazz career. Diagnosed with thyroid cancer just over a year ago, left with “three notes, my whole range was gone,” and vowing to rebuild her voice, she underwent three years of therapy, enrolled in the University of Miami to earn a Master of Music degree and began intense study of the great female jazz singers. Now, supported by an enviable rhythm section comprised of pianist Kenny Barron, drummer Leroy Williams, bassist Ray Drummond and, doubling on tenor sax and flute, Frank Wess, she has released her debut album.

That Dubowsky is a superb student is evident throughout these ten standards and one original (the heartfelt “Small Feats” that traces her road to recovery and vocal revitalization). Her style borrows heavily from Sarah Vaughan, Carmen McRae and Diana Krall; her phrasing owes a huge debt to Rosemary Clooney (particularly on the disc-opening “Tenderly”). But there’s much more to Dubowsky than mere mimicry. She handles Ellington’s hugely challenging “Sophisticated Lady” with just the right combination of refracted pain, misty disillusion and judgmental disdain. Her “Up Jumped Spring,” superbly underlined by Wess’ sax, effectively blends unexpected pleasure and thankful satisfaction. Best track: a loose-limbed “All of Me,” crafted in homage to King Pleasure, that boldly displays the marvelously imaginative spirit of the unfettered Judi. ~Christopher Loudon

Nightshade

---

Ella Fitzgerald - Clap Hands, Here Comes Charlie!

Styles: Vocal Jazz
Year: 1961
File: MP3@320K/s
Time: 57:00
Size: 132,7 MB
Art: Front

(4:10)  1. Night In Tunisia
(3:39)  2. You're My Thrill
(3:20)  3. My Reverie
(3:21)  4. Stella By Starlight
(3:31)  5. 'Round Midnight
(3:36)  6. Jersey Bounce
(3:49)  7. Signing Off
(4:17)  8. Cry Me A River
(2:18)  9. This Year's Kisses
(4:21) 10. Good Morning Heartache
(2:45) 11. (I Was) Born To Be Blue
(2:46) 12. Clap  Hands, Here Comes Charlie!
(6:17) 13. Spring Can Really Hang You Up The Most
(2:16) 14. The One I Love Belongs To Somebody Else
(3:45) 15. I Got A Guy
(2:43) 16. This Could Be The Start Of Something Big

Another typically wonderful CD reissue of Ella Fitzgerald in her prime, this set augments the original LP (which finds Ella joined by pianist Lou Levy, guitarist Herb Ellis, bassist Joe Mondragon, and drummer Stan Levey) with three previously unreleased selections from the same era (with Levey, bassist Wilfred Middlebrooks, and drummer Gus Johnson). Ella is in fine form on such numbers as "A Night in Tunisia," an emotional "You're My Thrill," "Jersey Bounce," "Clap Hands! Here Comes Charlie," and an unissued "The One I Love (Belongs to Somebody Else)." Although not reaching the heights of her live performances, this is an excellent (and somewhat underrated) set.  ~ Scott Yanow  http://www.allmusic.com/album/clap-hands-here-comes-charlie!-mw0000200769               

Clap Hands, Here Comes Charlie!

---

Gail Jhonson - Her Story

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 43:45
Size: 100,5 MB
Art: Front

(3:42)  1. Make It Happen
(4:32)  2. Electric Lady
(4:11)  3. Crusin After Dark
(4:13)  4. Dear Aaron
(4:12)  5. Still Care About Me
(4:06)  6. This One
(5:44)  7. For You Mom
(5:26)  8. HerStory
(3:29)  9. Do Something Else
(4:04) 10. Dee's

Growing up in one of music’s historical hotbeds, Gail Jhonson was one of many hard working dreamers who truly loved to play the piano.  She was thoroughly awed in how nearly everyone in Philadelphia seemed to take music seriously; even the one who were strictly ‘basement’ musicians.   But between her teachers and funk heroes she heard on the radio like Sly (Stone) and Stevie (Wonder), there were constant conflicts of interest. While the teachers demanded training her in the classical genre, Jhonson highly desired otherwise. In those frustrations, she took a year off from achieving her goals. Thankfully, Jhonston's passion was rejuvanated after witnessing an electrifying concert from Stevie in her hometown’s Uptown Theatre.  She was especially drawn to his Farfisa keyboard; an organ which reminded her of Sly’s rock flavored organ breaks on many of his hits including “Dance to the Music.” Despite persisting on obtaining a Farfisa, she settled for another keyboard.  Jhonson found plenty of work during her high school years (actually as flute player); proving herself worthy of a trip to the top-notch Berklee School of Music.

As she experienced the Berklee life, she slowly changed her direction toward jazz; admiring legends like Ramsey Lewis and John Coltrane. In the meantime to keep paying the bills, Jhonson worked on a smaller scale; mostly in the R&B and soul world. But the seal breaker for Jhonson was an audition for the vivacious entertainer Morris Day. Needless to say after ‘getting the job,’ the doors opened towards her own platform, including a long term musical directing gig for master smooth jazz guitarist, Norman Brown. Her impressive resume crosses over various urban genres performing with Bobby Womack and Sheila E.; and touring with Brown on the Summer Storm Series with Patti Austin, Marion Meadows and many more. As a musical educator; Jhonson produced several instructional books and CD’s including Funk Keyboards, heading full circle to her days of soaking in the dynamics of the Sly’s and Stevie’s of the world.

Known affectionately as ‘The First Lady of Smooth Jazz’, Jhonson dubbed her nickname of “Philly the Kid’ as her music company and record label. Now signed to the 111 East Music family, Jhonson returns with a funky good supporting cast on HerStory. The title was inspired by her hard working mother who fully invested in Jhonson’s musical vision. Much like her previous work: It’s About Time, Keep the Music Playing and Pearls, HerStory aims to please those that crave the pure elements of smooth jazz with a heap of funk frosting. . “Do Something Else,” released as a 2010 sneak preview of HerStory, mixes Latin spiced saxophone from Tom Braxton. Dwayne ‘Smitty’ Smith supplies some tasty bass guitar licks for “Dear Aaron.” The head nodding “Crusin’ After Dark” featuring trumpeter Lin Rountree demonstrates Jhonson’s clever spacing leading into the one-two ‘funky horn break’ punch. “Electric Lady” is a showcase for the keytar; a synthesized keyboard which produces deep, melodic acoustic bass lines. The solemn “For You Mom” steers away from the grooves for a short period, yet Jhonson still manages to ooze poignancy without the schmaltzy effect. HerStory may be pretty much the smooth jazz prototype for many. 

But what puts the icing on the cake is the passion and expressions Jhonson puts into every note and chord plus the guest musicians she surrounds herself with. And of course, there is the undeniable funk factor that Jhonson is passing; as a teacher and musician; onto future generations of jazz groove architects. ~ Peggy Oliver 

http://reviews.theurbanmusicscene.com/2011/06/19/gail-jhonson--her-story.aspx

HerStory

---

Giacomo Gates - Miles Tones

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 48:44
Size: 112,0 MB
Art: Front

(5:07)  1. All Blues
(4:00)  2. Be-bop Lives (Boplicity)
(4:19)  3. Fiur
(4:55)  4. 'Round Midnight
(5:02)  5. I Fall in Love to Easily
(6:27)  6. 'Long Come Tutu
(5:18)  7. Milestones
(4:42)  8. You're My Everything
(4:58)  9. So What
(3:52) 10. Walkin'

It has long been widely accepted that Kurt Elling is heir apparent to Mark Murphy. But an equally strong case can be made for Giacomo Gates. Indeed, while Elling has advanced to a somewhat distant some might say higher plateau, Gates remains truer to Murphy’s path. Nor is it surprising that Gates has, since joining Joe Fields’ Savant label in 2011, reached new levels of adventurism. It was, after all, during Murphy’s three-decade association with Fields that his musical boldness and creativity soared. Many would argue that Murphy’s mastery reached its apex with the Fields-produced Bop for Miles, recorded in 1990. Gates’ Miles Tones is very nearly as magnificent.

Though Gates has, like Murphy, achieved his greatest fame for his ability to brilliantly vocalize multiple instruments, particularly horns, the intent of Miles Tones is to focus on lyrics associated with or subsequently attached to 10 Davis-related selections. As such, the album is as much a tribute to the wordsmiths Oscar Brown Jr., Jon Hendricks and Al Jarreau among them whose sagely tailored lyrics Gates so skillfully navigates.

From the long, lean lines of his “All Blues” and loose, loping “Be-Bop Lives,” to his tightly coiled “Four” and dark, dense “’Long Comes Tutu,” Gates strikes a dexterous balance between veneration and fresh interpretive imaginativeness. Murphy first added lyrics to “Milestones” when he recorded it in 1962 (and again in 1990), but Gates opts for his own clever wordplay. He also comes closer than any of the myriad vocalists who have covered it to capturing the bone-deep loneliness of Davis’ “I Fall in Love Too Easily.” The penultimate track, an insistent “So What” hoisted like a raised middle finger to all Davis detractors, is truly the album’s endpoint. “Walkin’,” which follows, simply provides a breezy coda.  ~ Christopher Loudon   http://jazztimes.com/articles/81644-miles-tones-giacomo-gates

Miles Tones

---