Ehud Asherie & Harry Allen - Lower East Side

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 61:54
Size: 142,7 MB
Art: Front

(5:30)  1. S'posin'
(5:58)  2. Hallelujah!
(5:08)  3. Portrait In Black And White
(6:04)  4. Hey There
(5:24)  5. Thou Swell
(4:06)  6. Some Other Time
(4:44)  7. Thanks A Million
(6:31)  8. 'Deed I Do
(5:37)  9. Loads Of Love
(5:34) 10. Always
(7:12) 11. When I Grow Too Old To Dream

Pianist Ehud Asherie and tenor saxophonist Harry Allen are established musical partners with a shared fondness for a time when songwriting giants like Irving Berlin and Richard Rodgers were at their creative zeniths. Lower East Side is the pair's second duo outing, following on from Upper West Side (Posi-Tone, 2012), and once again the two demonstrate how this fondness for a bygone era can still produce fresh and joyous music. The journey from Upper West Side to Lower East Side is geographically short just a few miles. Musically, Esherie and Allen's journey is as brief as can be. Both albums feature the same mix of standards some famous, some undeservedly less so and the same stylish combination of tenor sax and piano. Why mess up a good thing, as they say. The mood throughout Lower East Side is relaxed, inviting, friendly. 

Asherie and Allen form a democratic, unselfish, partnership: a duo that functions best through mutual encouragement and cooperation. Such an arrangement may lack the fire and excitement of more competitive pairings but it more than makes up for this with a surfeit of good humor and high quality musicianship. Asherie's playing sparkles with a lightness of touch and an understated charm. He has a superb sense of rhythm there's never a moment where the music misses drums or bass especially when his stride playing takes center stage on tunes like Rodgers' "Thou Swell." His confidence is clear, his strong left-hand rhythms matched by emphatic, percussive, right hand melody lines. Allen's soft, slightly breathy, sound gives every note he plays a tonal richness. He's eminently capable of adding a raw edge but he does so sparingly, which simply heightens the impact of this shift in tone when it does appear his use of it on "Thou Swell" gives the tune a sexier vibe than usual.

Both men have a warmth to their playing, which heightens the emotional impact of the songs, whether they are upbeat and cheerful or a little more romantic; Allen's tenor on Leonard Bernstein's "Some Other Time" combines softness and warmth like a favorite blanket. The pair's delightful take on Fred Rose's "'Deed I Do" finds them both at their most assertive, driving the tune at a fast tempo that guarantees to drive away the blues. Although Esherie gets top billing on Lower East Side the great joy of this record is to be found in the interplay between piano and saxophone, between two terrific players with a deep, yet still evolving, musical relationship. Esherie and Allen form one of the most talented and most rewarding partnerships on the contemporary jazz scene. ~ Bruce Lindsay  http://www.allaboutjazz.com/php/article.php?id=43847#.UsggjLRc_vs

Personnel: Ehud Asherie: piano; Harry Allen: tenor saxophone.

Lower East Side

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Bobby Gordon & Dave McKenna - Clarinet Blue

Styles: Dixieland/New Orleans/Swing
Year: 2006
File: MP3@320K/s
Time: 72:56
Size: 167,6 MB
Art: Front

(4:28)  1. It's Been So Long
(4:08)  2. Ja-Da
(3:23)  3. I Wish I Could Shimmy Like My Sister Kate
(3:58)  4. You're Driving Me Crazy
(5:07)  5. You Turned the Tables on Me
(4:32)  6. Clarinet Blues
(4:08)  7. Rosetta
(5:01)  8. Poor Butterfly
(3:12)  9. Louisiana
(4:23) 10. Sweet Lorraine
(6:46) 11. I Cried for You
(2:31) 12. Sweet Adeline
(4:15) 13. Beale Street Mama
(4:15) 14. I Got It Bad (And That Ain't Good)
(4:13) 15. On a Slow Boat to China
(3:30) 16. Ballin' the Jack
(4:59) 17. Gotta Be This or That

Clarinetist Bobby Gordon and pianist Dave McKenna have teamed up with Frank Tate and Joe Ascione to produce a quartet recording that is soulful in a low-key, swinging way. Gordon plays a rich toned, introspective clarinet with an emotional range that incorporates hesitancies and doubts, which plays off well against the seemingly casual virtuosity of McKenna. In fact, the setting brings out some of the best in McKenna as he plays in a more pared down, single note style quite different from what a listener might expect who is only familiar with his renowned solo work. Gordon’s darkly, beautiful opening clarinet solo to the title track "Clarinet Blue" inspires an equally striking response from McKenna. This is part of what makes this recording so good: Gordon’s opening tone-setting solos, ably accompanied by McKenna, followed by a vivid McKenna reply. 

All of this rides above the subtle, responsive bass and drums duet of Frank Tate and Joe Ascione. Those who know Dave McKenna as the soloist with a rollicking left hand that seems to rise out of the depths of the earth will be continually tweaked by what he can do as an accompanist in a small group context. Deep listening is evident throughout this recording. Bassist Frank Tate’s solos are consistently attuned to the emotional climate of the tunes. His solo on "I Cried For You" is outstanding. Drummer Joe Ascione helps keep everyone on course, adding his own imaginative solos. This is a recording that gets better and better with repeated listening. Clarinet Blue will be especially interesting to those who enjoy the dynamics of a thoughtful rhythm section and a laid back solo exchange. This is small group swing, indeed. ~ Mike Neely   

http://www.allaboutjazz.com/php/article.php?id=6932#.Usc2RLRc_vs

Personnel: Bobby Gordon, clarinet; Dave McKenna, piano; Frank Tate, bass; and Joe Ascione, drums.

Clarinet Blue

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Demi Evans - Why Do You Run

Bitrate: 320K/s
Time: 59:03
Size: 135.2 MB
Styles: Soul/blues vocals
Year: 2006
Art: Front

[5:04] 1. Why Do You Run
[4:18] 2. Passing Judgment
[4:51] 3. Picking Beans
[4:30] 4. Be Good To Me As I Am To You
[4:13] 5. Hard Spot
[4:55] 6. Thinking About The Past
[3:59] 7. Words For A Hum
[4:02] 8. Platinum Age
[4:53] 9. All This Flowers
[3:34] 10. Trying To Live Life Without You
[4:34] 11. Heart In My Hands
[4:03] 12. Backwards To Forwards
[5:59] 13. They Won't Go When I Go

Demi Evans (real name is Demetrious Evans) is an American vocalist and lyricist from Dallas, Texas, who is heavily marketed in Western Europe and especially France as a famous blues singer. although she is relatively unknown in the US. She is known in the European jazz for her voice.

Demi Evans was born in the 60s in North Dallas. She was raised by her grand mother, herself a singer in the clubs of Dallas. This gave young Demi the opportunity to meet singers such as Johnnie Taylor. Demi helped her grandmother by working every evening at the Dallas Morning News as young as 14, till her grandmother decided to move to California. In Los Angeles, she was recruited by a model agency which paid for her acting studies. She moved to New York in the middle of the 80s, where she performed in gay cabarets. As a singer and model, she got to visit Europe, modeling for Jean-Paul Gaultier and Christian Lacroix in Paris, Milano or Vienna. She then moved to Germany where she worked with Sven Väth, a famous DJ. She released a few pop singles which had some success. Demi went back to the US and started working with Stevie Wonder. She then dropped modeling and continued her career as singer and lyricists, moving back to Europe. Demi then worked in the group of Jean-Jacques Milteau who helped her in her creative process.

Her first album « Why Do You Run » was issued in the spring of 2006 and since then has been touring the French and European jazz festivals.

Why Do You Run

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Various - Jazz Manouche

Bitrate: 320K/s
Time: 61:53
Size: 141.7 MB
Styles: Swing, Gypsy jazz
Year: 2008
Art: Front

[4:41] 1. Stochelo Rosenberg - After You've Gone
[2:48] 2. Romane - Swing 98
[3:14] 3. Django Reinhardt - Nuages
[3:59] 4. The New Quintette Du Hot Club De France - Mélodie Pour Stéphane
[5:09] 5. Stochelo Rosenberg - Just Enough For Jazz
[5:21] 6. Tchavolo Schmitt - J'attendrai
[4:49] 7. Stochelo Rosenberg - All Jazzy
[3:29] 8. Bernard Berkhout - Last Minute Swing
[3:21] 9. Tchan-Tchou - Flots Du Danube
[3:50] 10. Romane - Legende
[3:59] 11. Hot Club Usa - Stompin' At Decca
[3:22] 12. Tim Kliphouse - Exactly Like You
[4:21] 13. Tchavolo Schmitt - It Had To Be You
[4:00] 14. Hot Club Usa - Djangology
[2:38] 15. Stochelo Rosenberg - Melody For Babik
[2:45] 16. Django Reinhardt - Echoes Of France (La Marseillaise)

Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. Because it's origins are largely in France it is often called by the French name, "jazz manouche", or alternatively, "manouche jazz", even in English language sources. Some modern dictionaries recommend avoiding using the word "gypsy" because it is felt to have been tainted by its frequent use as a pejorative, however dictionaries do not caution against use of the term "gypsy jazz."Django was foremost among a group of Romani guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.

Many of the musicians in this style worked in Paris in various popular Musette ensembles. The Musette style waltz remains an important component in the Gypsy jazz repertoire. Reinhardt was noted for combining a dark, chromatic Gypsy flavor with the swing articulation of the period. This combination is critical to this style of jazz. In addition to this his approach continues to form the basis for contemporary Gypsy jazz guitar. Reinhardt's most famous group, the Quintette du Hot Club de France, also brought fame to jazz violinist Stéphane Grappelli.

Jazz Manouche

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Gabriele Tranchina - The Old Country

Styles: Vocal Jazz, Bossa Nova
Year: 2003
File: MP3@320K/s
Time: 48:32
Size: 111,4 MB
Art: Front

(5:02)  1. Berimbau
(7:03)  2. I Never Say Goodbye
(5:19)  3. Samba Do Aviao
(3:51)  4. The Old Country
(4:14)  5. Just One of Those Things
(6:24)  6. Lamento No Morro
(4:44)  7. I Have the Feeling I've Been Here Before
(7:14)  8. Lover Man
(4:36)  9. Angel Eyes

Vocalist Gabriele Tranchina embodies a rare combination of European charm and New York style. Having left her native Germany in 1988, the source for her gracious manner of performance, Tranchina has absorbed all that her adopted land has to offer. Her broad repertoire from the popular songbook and the blues to samba and a variety of Latin forms is the veritable gumbo that constitutes American jazz. She truly brings an international perspective to her songs: no wonder "Old Country," the title track of her new CD, contains such great insight. Tranchina's talents have earned her a place on the stages of Birdland, the Blue Note, Metronome, the New Yorker Club, the Lehman Center for the Performing Arts, and the National Academy Museum, among others. For a time, she hosted the Squire's popular open mic night. Her versatility with languages - she is tri-lingual and sings in English, German and French as well as Portuguese, Italian, and Spanish - has made her an asset to tour operators and hotels. She has performed for special events at New York's Marriott Marquis, Rockefeller Center's Sea Grill, and on Spirit Cruises. 

Her husband, the pianist Joe Vincent Tranchina, often accompanies her. In addition to her busy schedule in the Tri-State area, Gabriele has won praise in her native Germany for appearances at the Hessen Jazzfest, Jazzfest Mirfelden Walldorf, the Mainz Arts and Crafts Festival, as well as Darmstadt's Heinerfest and Hochzeitsturmfest. That tiny city, known as a center of German jazz, also boasts numerous clubs: Tranchina has played its prestigious Achteckiges Haus, Oktave Jazzclub, and Cafe KUK. Renowned composer/big band leader Connie Scheffel chose Tranchina to record a number of his works. Berlitz's Rush Hour German  a boy-meets-girl, musical theater adventure that departs from standard format language tapes - also features Tranchina's voice. She holds a BFA in Music and Physical Education with a teaching degree from J.W. Goethe University in Frankfurt. By the age of 20, Tranchina had traveled throughout Europe and spent a year touring India, Nepal, Thailand, and Sri Lanka. She pursued a career as a dancer and arrived in New York City to further her studies. Enrolled as a foreign student at Peridance and then the Broadway Dance Center/Ballet Arts, Tranchina danced for Ned Williams William Adair, Igal Perri and several other up-and-coming choreographers. Although an injury caused her to retire in 1993, New York and its music scene would not let her go. She would meet vocal legends Mark Murphy and Sheila Jordan, now long time friends and mentors, and began to organize vocal workshops for them (a story detailed in "Mark Murphy: Workshops Without Water Wings" Jazz Times Educational Supplement, 2002). 

Tranchina also studied with vocalists Nancy Marano, Dominique Eade, and Jay Clayton, with lessons in improvisation from pianist Connie Crothers. Sessions with vocal coach Jeannie Lovetri, who heads the New York Voice Teachers Association and counts Meredith Monk and Helen Merrill among her pupils, helped Tranchina perfect her spectacular three octave range. She enjoys a sound reminiscent of "cool school" vocalists June Christy and Chris Connor.

At last, here is my debut recording. The Old Country endured a complicated birth, as life brought many unexpected delays. Instead of the usual nine months, this child took about two years before the final mix was completed. September 11, 2001, at noon was the initial date for the final mix. Little did I know that I and my husband would be evacuated from our apartment in Battery Park City in Lower Manhattan and consequently be without a home for months to come. So whenever I play this CD there is a bittersweet taste to it. The sweetness comes from friends like Sheila Jordan with whom we lived for three months, sharing wonderful moments, cherished forever; Mark Murphy who gave a benefit concert for us at the Blue Note, and finally, my vocal coach, Jeannie Lovetri, who continued coaching me for free until our money situation recovered. 

The Old Country was deemed to be most appropriate as the title for my CD debut by Lara Pellegrinelli, freelance writer for JazzTimes and other publications. Laradescribes my voice as being "reminiscent of 'Cool School' vocalists June Christy and Chris Connor." It has been said that the years of living in New York City have made me a mixture of city coolness and "Old Country" charm and sophistication which come from my upbringing in Europe. Hence, "The Old Country" is a mixture of all these things, represented by standards, more obscure jazz tunes and Brazilian songs.  http://www.cduniverse.com/productinfo.asp?pid=7192690&style=music&fulldesc=T

The Old Country

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Claire Martin - He Never Mentioned Love

Styles: Jazz Vocals
Year: 2009
File: MP3@320K/s
Time: 60:38
Size: 139,5 MB
Art: Front

(5:06)  1. He Never Mentioned Love
(3:56)  2. Forget Me
(5:15)  3. Everything Must Change
(2:44)  4. Trav'llin Light
(6:13)  5. The Music That Makes Me Dance
(3:38)  6. All Night Long
(4:58)  7. If You Go
(5:01)  8. A Song for You
(4:08)  9. Slowly But Shirley
(4:35) 10. You're Nearer
(5:23) 11. L.A. Breakdown
(4:10) 12. Slow Time
(5:26) 13. The Sun Died

Eleven Claire Martin albums have preceded He Never Mentioned Love, and if none are part of your jazz library, then there’s a significant gap in your knowledge and appreciation of contemporary vocalists. This time around, the finely tuned Brit pays tribute to the songs and spirit of Shirley Horn. Or, as Martin more articulately puts it, she spends “a really heartfelt hour remembering someone who I really love.” Martin, whose voice is one of the most satisfying instruments in jazz, doesn’t sound like Horn, nor does she attempt to. But they do share a dusky, contemplative self-assurance, making it eminently clear that each track is equally indebted to heart and mind. A salute to Horn demands not only sublimely intelligent singing, but also inspired piano work. Since Martin doesn’t play, she wisely calls on the superb Gareth Williams. 

Additional instrumental highlights come from guest guitarist Jim Mullen, working his subtle brand of magic on “Everything Must Change,” and blazing sax accompaniment by Nigel Hitchcock on an “All Night Long” that sounds like an Edward Hopper painting brought to urgently shadowy life. And, is there a finer expression of love for a lost pal than “A Song for You,” especially as Martin handles it, treating Leon Russell’s delicate lyric like a priceless treasure that demands care both gentle and firm? ~ Christopher Loudon  http://jazztimes.com/articles/18948-he-never-mentioned-love-claire-martin

He Never Mentioned Love

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Kenny Burrell - Easy

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 73:44
Size: 169,5 MB
Art: Front

(3:54)  1. How Could You
(2:49)  2. Bye and Bye
(4:40)  3. Mood Indigo
(4:03)  4. Satin Doll
(6:25)  5. Moten Swing
(4:20)  6. The Squeeze
(4:24)  7. Imagination
(3:30)  8. One Mint Julep
(3:18)  9. Gee Baby, Ain't I Good to You
(4:42) 10. Opus 21
(5:05) 11. The Switch
(2:54) 12. Stella by Starlight
(3:40) 13. People Will Say We're in Love
(4:40) 14. Gettin' in the Groove
(3:06) 15. Funk Junction
(4:17) 16. Reverie
(4:01) 17. Bluesin' Around
(3:47) 18. Mambo Twist

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late '50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957's The Cats featuring Coltrane, 1963's Midnight Blue featuring saxophonist Stanley Turrentine, 1965's Guitar Forms with arrangements by Gil Evans, and 1968's Blues The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the '80s and '90s, releasing several albums including 1989's Guiding Spirit, 1991's Sunup to Sundown, 1994's Collaboration with pianist LaMont Johnson, 1995's Primal Blue, and 1998's church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released the live album, Be Yourself: Live at Dizzy's Club Coca-Cola, recorded at Lincoln Center's smaller club-like venue, followed two years later by Special Requests (And Other Favorites): Live at Catalina's. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA as well as President Emeritus of the Jazz Heritage Foundation. ~ Matt Collar & Al Campbell, Rovi  https://itunes.apple.com/gb/artist/kenny-burrell/id119995#fullText

Easy

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Antti Sarpila, Frank Roberscheuten, Engelbert Wrobel - The Three Tenors of Swing

Styles: Swing
Year: 2012
File: MP3@320K/s
Time: 68:43
Size: 158,5 MB
Art: Front

(4:35)  1. Bean Stalking (Idaho)
(3:37)  2. Please Be Kind
(4:55)  3. Please Don't Talk About Me (When I'm Gone)
(5:00)  4. Weary Blues
(2:34)  5. Oh My Solo (O Sole Mio)
(4:37)  6. East of the Sun (And West of the Moon)
(5:08)  7. One O' Clock Jump
(3:34)  8. Clarion Song
(3:39)  9. Flight of the Hawk
(4:07) 10. Laura
(5:17) 11. Between the Devil and the Deep Blue Sea
(4:32) 12. Swing in the Clowns (From "i Pagliazzi")
(5:10) 13. Four Brothers
(3:59) 14. The Cat Walk
(4:48) 15. Panama Rag
(3:05) 16. Creole Love Call / Mood Indigo (Medley)

Inspired by their shared love and enthusiasm for the swing - jazz and from pleasure and joy of making music together in this tradition , three of the most renowned saxophonist and clarinetist of the European jazz scene have joined forces : Antti Sarpila from Finland, Frank Roberscheuten from the Netherlands  and Engelbert Wrobel from Germany . With plenty of power and drive , they allow taking a look back at the big time of swing and inspire their audiences with skillful arrangements , mainly from his own pen , and exciting improvisations. All three soloists and stand for years before his own formations .

With a wink, taking the headline reference to the famous " three tenors " from the Opera area. "The 3 Tenors of Swing " but might as well "The 3 Clarinets " or "The 3 Altos Of Swing " hot , or they would have to imagine as "The 3 Reed Men Of Swing" , because these three protagonists are all multi-instrumentalists - everyone plays both tenor and another saxophone, and clarinet - and each of these instruments masterfully. (translated using Google translator).  

http://www.swingsociety.de/html/the_three_tenors_of_swing.html

The Three Tenors of Swing

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Joe Venuti & Zoot Sims - S/T

Bitrate: 320K/s

Time: 60:04

Size: 137.5 MB

Styles: Swing

Year: 1975/1988/1994

Art: Front

[3:41] 1. My Honey's Lovin' Arms

[3:49] 2. Deep Night

[5:01] 3. Remember

[3:35] 4. I Got Rhythm

[3:43] 5. Avalon

[5:03] 6. I Surrender, Dear

[4:30] 7. Wait Till You See Her

[4:18] 8. Russian Lullaby

[3:59] 9. Lady Of The Evening

[4:30] 10. Where Or When

[6:40] 11. Lover, Come Back To Me

[4:46] 12. I'll See You In My Dreams

[3:03] 13. Don't Take Your Love From Me

[3:18] 14. Shine

Violinist Joe Venuti's three recordings with tenorman Zoot Sims are all quite joyful and exciting. This Chiaroscuro recording matches the pair with pianist John Bunch, bassist Milt Hinton, drummer Bobby Rosengarden and, on "Don't Take Your Love from Me," trombonist Spiegel Willcox who was then 73. The small-group swing performances have plenty of life and more often than not are hard-swinging. ~ Scott Yanow

Recorded at WARP Studios and Downtown Sound, New York, New York in May 1974 and May 1975.

Joe Venuti (violin); Bucky Pizzarelli (guitar); Zoot Sims (tenor saxophone); Spiegle Willcox (trombone); Dick Hyman, John Bunch (piano); Bobby Rosengarden , Cliff Leeman (drums).

Joe Venuti & Zoot Sims

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Gary Cundiff - Invariable Change

Bitrate: 320K/s
Time: 45:53
Size: 105.0 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[3:32] 1. Thirsty Night
[3:45] 2. Alsuma Swing
[3:47] 3. Impulses
[2:10] 4. Monday Detour
[4:09] 5. Something About Melissa
[2:57] 6. Bangkok Sun
[2:25] 7. Hidden Dreams
[2:51] 8. Riding To Rio
[3:21] 9. Small Danger
[2:38] 10. Rainy Road
[4:42] 11. Amber Light
[2:36] 12. Late Afternoon
[3:56] 13. Pub Generation
[2:58] 14. Bossa Boss

Gary Cundiff uses computers, software and digital samples to create music. Currently exploring Jazz, Latin, Bebop and Swing in this release "Invariable Change" a follow-up to 2012's "Variable Change".

Invariable Change is Gary Cundiff's second Jazz album featuring Tenor Sax, Piano, Rhodes, Trumpet and Guitar playing melodies and solos out front of a Drums-Bass-Piano trio. This effort draws from many past influences and strives to present them in a modern sonic experience...best shared with someone you adore!

Invariable Change

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Brigitte Zarie - L'amour

Styles: Jazz, Vocal
Year: 2013
File: MP3@320K/s
Time: 46:19
Size: 107,3 MB
Art: Front

(3:59)  1. Where There Is Love
(3:46)  2. Lamour (French Vers.)
(4:04)  3. Walk the Line
(4:09)  4. Good to Be Home
(3:44)  5. I Just Love You (feat. Randy Brecker)
(4:02)  6. Quiet Nights (Corcovado)
(3:01)  7. Nobody Else
(4:14)  8. How Can It Hurt
(3:47)  9. Lamour (English Vers.)
(3:49) 10. Don't Forget Me
(4:06) 11. Celebrate
(3:32) 12. Get Me Through

To paraphrase Peter Bonventre of Newsweek magazine on his leaving the Boston Garden and a Hagler fight in November 1978, “Marvelous Marvin is a beautiful fighter!” – well, “Brigitte Zarie is a beautiful singer.” Oh, that bass!  And Randy Brecker featured on 2 tunes.  

Oh, that horn!  First class production.  Big orchestra sound.  Nice instrumentation.  Now, Brigitte, it’s Good to Be Home listening to this on Quiet Nights with Nobody Else 12 tunes impeccably swinging crisp and beat. My favorite female vocalist Anita O’Day.  Brigitte is a new favorite not the edge of a Miss O’Day, but as full voiced and vibrant and lyrical.  And sincere.  I see myself at Charlie’s Gone By listening to both.  Whoa!  Wow!  Outstanding!  And elegant! 

Brigitte is an extraordinary songwriter too except for Walk the Line and Quiet Nights (Corcovado), she wrote all of the songs on L’amour music by Brigitte Zarie and Neil Jason; lyrics by Brigitte Zarie.  I’m hearing standards all over the place. To paraphrase Bonventre again, “Brigitte is a beautiful songwriter.”  L’amour highly highly recommended.  It is a story.  And it is jazz. ~ Peter DeVeber  http://www.nejazz.com/Wordpress/2013/12/cd-lamour-brigitte-zarie/

L'amour

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Lindsay George - Living Inside-Out

Styles: Jazz Pop
Year: 2009
File: MP3@320K/s
Time: 45:00
Size: 103,4 MB
Art: Front

(2:06)  1. Buzzed
(4:42)  2. No Surprise
(4:47)  3. Run Away with You
(4:20)  4. Life Is Good
(5:28)  5. You Get to Me Like You Do
(4:34)  6. Don't Wanna Give Up on You
(4:41)  7. If You've Only Known Lonely
(4:01)  8. Blame
(4:17)  9. I Could Write a Book
(5:59) 10. Once I Loved

At age three, Lindsay and her family left Philadelphia headed to Nashville. At the time, no one realized what a precipitous move that would turn out to be. “Music City” was just the place young Lindsay needed to be. For it was evident early on, that the precocious toddler was musical. While listening to radio’s Jerry House and the House Foundation on her way to pre-school every day, she quickly became enamored with country music. It turns out that country wasn’t her only interest. In fact, Lindsay has a passion for all things musical. At age 11 she sang her first part in a theater production of The Magician's Nephew, which enjoyed an 8 week run at the Tennessee Performing Arts Center.  A few years later, while looking for a new musical adventure, Lindsay discovered a small music school north of town  The Nashville Jazz Workshop. 

It was there that she fell “head over heels in love” with Jazz! The folks at the NJW encouraged her to audit a phrasing class taught by legendary vocal coach, Ron Browning. Up to that point, Browning had rarely worked with children. After the 15-year old Lindsay’s impromptu rendition of the classic Route 66, in front of his stunned adult class, Browning changed his mind about young students. That chance meeting led to five years of private coaching, which truly brought Lindsay vocally, to where she is today. “Ron made me work hard, and would never let me just … get by,” shared George. “He always pushed me for more.”  While most kids at Brentwood High School were listening to Hip-Hop, Lindsay loaded Johnny Mercer and Tony Bennett on her iPod. “I love Ella Fitzgerald, and Carmen McCrae’s Love is Here to Stay is one of my favorite songs ever,” says George. Gifted academically as well, Lindsay completed high school in three years, and graduated at the top of her class.

Belmont University offered George a full scholarship, and she accepted. Her major: Commercial Music of course. In her sophomore year, she was honored with a very special award. Voted on by the Dean, and all the instructors in the School of Music, the Presser Award, a cash prize of $5,000, was presented to Lindsay, as the most talented and deserving music student. A family friend who had been following Lindsay’s musical progress, thought it would be appropriate for her to meet Denny Jiosa. The 4-Time Grammy nominated producer and Smooth Jazz guitarist, Jiosa, liked Lindsay from the start. “She’s smart, she’s adorable, she has a great vibe, and she’s a super-talented singer,” he gushed. After a few meetings, Denny agreed to produce a project on her. “I only had one condition,” he said. “I told Lindsay that she would have to c0-write at least one song with me.” Lindsay accepted the challenge. Living Inside-Out contains five cuts penned by George & Jiosa. So, from a magical town known mostly for its “guitars, Cadillacs, and hillbilly music,” comes a fresh, new and prodigious, Jazz Pop talent, with an incredible musical future. Keep your eyes and ears wide open for the lovely, the talented, Lindsay George!  http://www.cdbaby.com/cd/lindsaygeorge

Living Inside-Out

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Jannick Top, Serge Perathoner - Good Mood For Jazzy Souls

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 51:11
Size: 118,2 MB
Art: Front

(4:23)  1. Silencious Walk on a Memory
(3:48)  2. Blue and Yellow Cocktail
(3:20)  3. Jaunt in New York With You
(3:29)  4. Amazing Sunday Morning
(3:10)  5. Sweet Lamentation
(4:00)  6. Secret Love in Your Arms
(3:09)  7. Deep and Dark Memories
(4:00)  8. Smokey Dance
(3:59)  9. Party in the Boat of Life
(5:00) 10. A Rose Floating on the Brook
(3:56) 11. Rainy Sky in My Heart
(4:07) 12. This Is Your Rhythm Babe
(2:46) 13. The Last Drop of Wine
(1:58) 14. Hot Ice Cream

Serge Perathoner, born June 27, 1953 | music at Longchamp-sur-Aujon, is a composer, keyboardist and musical arranger French. Studio musician and arranger Michel Berger, Luc Plamondon, France Gall, Johnny Hallyday, Sylvie Vartan, Celine Dion ... He is the arranger of musicals Starmania and Notre-Dame de Paris, and composer of film music. He is Member of the Board of Directors of the SACEM since 2013.  Serge Perathoner studied at the Conservatoire National de Troyes, then the Superior of Paris in class piano, chamber music and writing. He started alongside Yves Simon 's especially on the soundtrack Diabolo Menthe in 1977.

Then he forms with the American violinist David Rose Blue Rose group whose album was ranked billboard. Studio and / or on stage, accompanied Serge Perathoner France Gall, Michel Berger, Johnny Hallyday, Sylvie Vartan, Jane Birkin, Gérard Manset ... As arranger and musical director, he has to produce albums for Celine Dion and France Gall. Close associate of Michel Berger, it ensures the arrangements and musical direction of rock operas Starmania (versions 1988 and 1993) and The Legend of Jimmy (1991). Then the author Luc Plamondon and composer Richard Cocciante entrust those of the successful musical Notre-Dame de Paris. Also a composer, he created with Jannick Top television (Ushuaia, Opération Okavango) music, pubs, series (Navarro, Fabio Montale), Dance (Roland Petit) and films. He works regularly since their beginnings with Peter and Marc Jolivet for film, television and theater. By the late 1980s, he founded Piano Bass Music, producer and publisher of the majority of his compositions, including the generic emission Nicolas Hulot Ushuaia. Translate by google 

http://www.musicme.com/Serge-Perathoner/albums/Good-Mood-For-Jazzy-Souls-3610152119276.html&usg=ALkJrhjg9my0FrVeZW2y5Zi_Aqw03nI0QQ

Jannick "Janik" Top is a French bass player and composer, born in Marseille. Top plays the electric bass and the cello. In the 1970s, he was a lead member of the influential zeuhl band Magma, along with Christian Vander and Didier Lockwood. In 1977-1980 he played in the popular electronic project Space. Since then, he has worked with many other musicians, including session work for Michel Berger, France Gall, Richard Cocciante, Bonnie Tyler, Eurythmics, Ray Charles, Céline Dion as well as live playing and musical direction for shows, including Johnny Hallyday and Starmania. In association with Serge Perathoner, keyboardist, he has also done a variety of film and advertisement musics. http://en.wikipedia.org/wiki/Jannick_Top

Good Mood For Jazzy Souls

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Karl Olandersson - Introducing

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 49:50
Size: 114,6 MB
Art: Front

(4:20)  1. The Old Country
(4:35)  2. Moon River
(3:28)  3. Sermonette
(6:02)  4. We'll Be Together Again
(5:21)  5. Smile
(6:05)  6. How Long Has This Been Going On
(3:15)  7. Red Sails In The Sunset
(5:33)  8. Who Can I Turn To
(5:41)  9. The Night We Called It A Day
(5:25) 10. I RemeSmber Clifford

Karl Olandersson, jazz trumpet player, born in 1978 in Hedemora, Dalarna, Sweden. Moved to Stockholm in 1997 and studied four years at the Royal College Of Music. Karl has been working as a freelance musician since then and he is now one of the top trumpet players in Sweden. His first album, ”Introducing”, was released in 2003. The second is called ”I Like The Way You Shake That Thing”, but this album was only released in Japan, in 2005. Karl’s third album, ”Plays Standards”, was released in August 2010.  http://www.karlolandersson.com/bio.html

Introducing

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Ilya Serov - September In The Rain

Size: 88,9 MB
Time: 37:56
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. September In The Rain (3:50)
02. All Of Me (3:52)
03. You Go To My Head (4:42)
04. Our Love Is Here To Stay (4:03)
05. The Girl From Ipanema (3:25)
06. I've Got The World On A String (3:54)
07. Dream A Little Dream Of Me (3:15)
08. But Not For Me (2:55)
09. When We Remake Love Tonight (4:54)
10. Honeysuckle Rose (3:01)

This album is a great selection of standards of swing and big band era. Smooth and mellow arrangements, warm vocals and that soulful sound of trumpet!

Los Angeles – based trumpeter/vocalist/songwriter ILYA SEROV has been hailed as one of the most versatile young jazz singer - trumpeters of his generation. Originally from St. Petersburg, Russia, he has graduated from the oldest academy of music in Russia (St.–Petersburg Conservatory of Music named after N.A. Rimsky – Korsakov). Ilya has performed as a guest artist in the United States and Europe. He is best known for his dazzling trumpet solos, smooth vocals and his own arrangements of jazz standards and original compositions influenced by jazz, R&B, pop and world music.

September In The Rain

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Ute Lemper - Forever: The Love Poems Of Pablo Neruda

Size: 147,0 MB
Time: 62:48
File: MP3 @ 320K/s
Released: 2013
Styles: Pop/Jazz Vocals
Art: Front

01. La Nuit Dans L'ile (5:38)
02. Madrigal Escrito In Invierno (3:47)
03. If You Forget Me (7:35)
04. Tus Manos (3:57)
05. El Viento En La Isla (5:10)
06. Alianza - Sonata (6:35)
07. Siempre (3:11)
08. Always (4:06)
09. Ausencia (4:07)
10. El Sueno (3:57)
11. Oda Con Un Lamento (7:35)
12. The Saddest Poem, Nr. 20 (7:05)

It could almost be a flaw from a classical tragedy. A gifted singer, swollen with acclaim and popularity, suddenly believes he or she can write songs. It's rife among jazz singers who, vexed by trying to make standards live anew, trot out trite ditties of their own, oblivious to their listeners' attempts to hide.

Cabaret is another area. Ute Lemper, the most potent cabaret artist on earth, could be forgiven for thinking she has sung a lifetime's worth of Weill/Brecht, Kander/Ebb, Brel and Piaf, despite having leavened the journey with Piazzolla, Waits and Cave. She could be forgiven for trying to pen her own; even be forgiven when they were not in the Weill/Brel class, because in concert they were book-ended by masterpieces, and she was so extraordinary, anyway.

Now there's no need to forgive. With Forever Lemper, the queen of interpreters, finally proves herself as a composer. She has taken the love poems of the late Chilean Nobel Laureate Pablo Neruda and let them unfold organically through music.

I use that wretched word ''organically'' because you can almost hear how she must have sung the tunes to herself as she read the poems; hear (as she has said) that these songs came easily to her. You can hear the depth of her response to Neruda's words in her presenting different songs in the original Spanish, or French or English adaptations.

And what words! Neruda's poems seem to be the wellspring of life rather than a mere reflection of it. They flow from a life full of wrong turns, while lived to the drinking/eating/laughing/crying/soaked-bed hilt.

Lemper has generally kept the poems that burn with that peculiarly South American spirit in Spanish (with music to match), set the heart-breaking ones in French (cue sweeping melodies) and set the more bullish ones in English (amid jazzier surroundings). The works pulse with the blood of the poems.

Perhaps without her Piazzolla project she would never have arrived here, because her sound world is alive with bandoneon and guitar, as well as piano, bass, percussion and strings. The playing is superb, and the production quality sumptuous.

Her voice can be brittle or can arch up like a spine above a mattress. It implores and threatens, cajoles and snuggles, laments and smiles, all the while drawing you into her music, as though she is taking your hands and guiding you through a door. And once there it is not as though the music is wildly unfamiliar, because you can hear the Brel/Piazzolla/Piaf/Cave influences, now twisted together around the molten core of Neruda's words. ~John Shand

Forever

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David Hazeltine - The Classic Trio

Bitrate: 320K/s
Time: 67:13
Size: 153.9 MB
Styles: Piano jazz
Year: 1997
Art: Front

[7:49] 1. You Make Me Feel So Young
[5:10] 2. The Fruit
[8:54] 3. Sweet & Lovely
[5:00] 4. Concentration
[5:29] 5. Catherine's Fantasy
[7:00] 6. One For Peter
[7:32] 7. You've Changed
[5:28] 8. My Stuff's On The Street Blues
[8:10] 9. These Foolish Things
[6:37] 10. Midnight Waltz

This 1997 album, featuring an impeccable rhythm section of Louis Hayes and Peter Washington, is a tour de force for pianist David Hazeltine's versatile skills as instrumentalist and composer. In addition to four very strong originals, the group tackles challenging compositions by piano masters Bud Powell and Cedar Walton, and offers fresh takes on standards like "You Make Me Feel So Young" and "These Foolish Things." Although he has yet to develop a particularly distinctive personality at the piano, Hazeltine has successfully synthesized the lessons of his modern jazz piano predecessors. This terrifically talented pianist deserves major attention. ~Joel Roberts

The Classic Trio

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Christine Ebersole - Sings Noel Coward

Bitrate: 320K/s
Time: 52:18
Size: 119.7 MB
Styles: Vocal
Year: 2010
Art: Front

[3:27] 1. Someday I'll Find You
[3:19] 2. Any Little Fish It's Only You
[3:32] 3. You Were There
[4:03] 4. A Room With A View
[2:27] 5. Chase Me Charlie
[3:37] 6. Matelot Come The Wild, Wild Weather
[3:41] 7. I'll Follow My Secret Heart
[4:48] 8. World Weary
[5:08] 9. If Love Were All
[4:28] 10. Mad About The Boy
[4:31] 11. Never Again Sail Away
[4:01] 12. The Dream Is Over
[3:03] 13. When My Ship Comes Home
[2:08] 14. I'll See You Again

Two-time Tony Award winner Christine Ebersole, whose soprano voice was heard singing Noël Coward songs between scenes of the most recent Broadway revival of Blithe Spirit, has teamed up with Musical Director Larry Yurman on an album of Coward tunes.

For her work in the dual roles of Edith Bouvier Beale and "Little" Edie Beale in the Off-Broadway and Broadway productions of Grey Gardens, Christine Ebersole was honored with the Tony Award, the Drama Desk Award, anOuter Critics Circle Award, an Obie, a special citation from the New York Drama Critics Circle and the Drama League's 2006 Distinguished Performance of the Year Award. She also received a Tony Award for Best Performance by a Leading Actress in a Musical for her work as Dorothy Brock in the hit revival of 42nd Street and a 2003 Tony nomination for her performance in Lincoln Center's production of Dinner at Eight. Ebersole's other Broadway credits include Blithe Spirit, The Best Man, Getting Away with Murder, Harrigan 'n Hart, Camelot, Oklahoma!, On the Twentieth Century, I Love My Wife, Angel Street and the City Center Encores! productions of A Connecticut Yankee, Ziegfeld Follies of 1936, Lady in the Dark and Allegro. Ebersole was also seen Off-Broadway in Talking Heads and in the recent City Center Encores! production of Applause.

Sings Noel Coward

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Kelly Mittleman - Kelly

Styles: Jazz Vocals
Year: 2006
File: MP3@320K/s
Time: 58:55
Size: 134,9 MB
Art: Front

(3:33)  1. Boy From Ipanema
(5:17)  2. My Funny Valentine
(4:08)  3. The Shadow Of Your Smile
(2:39)  4. Love For Sale
(4:56)  5. This Masquerade
(3:46)  6. Nature Boy
(4:42)  7. Feel Like Making Love
(3:44)  8. Autumn Leaves
(4:43)  9. Sunny
(4:31) 10. Never Really Knowing Why
(4:59) 11. Another Star
(4:30) 12. My Foolish Heart
(7:21) 13. God Bless The Child

She takes the standards and infuses them with overtones of soul and r&b with distinctive clarion vocals combined with a hip, sultry and sexy mix. The story it tells, the haunting melody..now put it together with a modern pulse. Kelly sings her stories over a new current with grooves of hip hop and dance and acoustic and trance. The message and the meaning of the past are preserved through Kelly's unique approach to rhythm and her clarion vocals. Kelly's self-titled CD is produced by the legendary Nile Rodgers (Madonna, Joss Stone, Maroon 5 and Diana Ross) and the vibe is fresh, hip and sexy. http://www.cdbaby.com/cd/kellymittleman

Kelly

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Lee Ritenour - Rit's House

Styles: Fusion
Year: 2002
File: MP3@320K/s
Time: 61:50
Size: 141,6 MB
Art: Front

(4:29)  1. Module 105
(4:59)  2. "13"
(5:23)  3. Mizrab
(5:37)  4. 78th & 3rd
(5:03)  5. Rit's House
(5:13)  6. A Little Dolphin Dreamin'
(4:00)  7. Every Little Thing She Does Is Magic
(5:13)  8. Condor
(5:09)  9. Olinda
(6:22) 10. Night Owl
(4:18) 11. Party Time
(5:58) 12. Just Listen

Creatively, Lee Ritenour has had his ups and downs over the years. Many of the guitarist's commercial pop-jazz efforts have wasted his skills as an improviser; when Ritenour is catering to NAC/smooth jazz radio, improvisation is the usually the first thing to go. But when Ritenour does have a chance to stretch out, he can be an appealing improviser. Although quite accessible, Rit's House is among his more memorable and substantial efforts. This 2002 release has a soul-jazz/post-bop outlook that often recalls the late '60s and early '70s; for the most part, it is the sort of album that guitarist Grant Green would have been comfortable recording during that era. But Ritenour's guitar playing owes a lot more to Wes Montgomery, who is obviously his primary influence on Gabor Szabo's "Mizrab," as well as original tunes like "78th & 3rd" (which features organist Joey DeFrancesco) and the dusky "Olinda." One of the CD's best tracks has nothing to do with jazz: "Every Little Thing She Does Is Magic." Featuring former Doobie Brothers vocalist Michael McDonald, this interesting remake of the Police's 1981 hit is not only a departure from the rest of the album  it is also a big departure from the original version. 

While the Police's version was up-tempo pop/rock, Ritenour and McDonald transform "Every Little Thing She Does Is Magic" into an adult contemporary/quiet storm ballad. That track is the CD's only vocal offering; the rest of Rit's House is instrumental. Arguably, 1992's Wes Bound is still Ritenour's best studio album certainly from a jazz perspective. But this CD is also respectable, and those who enjoyed hearing the guitarist stretching out on that mostly straightahead disc will also find a lot to enjoy about Rit's House.  ~ Alex Henderson   

http://www.allmusic.com/album/rits-house-mw0000221004

Rit's House

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