The New Seekers - The Best Of The New Seekers

Bitrate: 320K/s
Time: 36:47
Size: 84.2 MB
Styles: Folk
Year: 2005
Art: Front

[3:23] 1. Look What They've Done To The Song, Ma
[3:50] 2. Beautiful People
[3:22] 3. Nickel Song
[2:40] 4. Blackberry Way
[2:32] 5. A Perfect Love
[3:15] 6. Never Ending Song Of Love
[2:22] 7. I'd Like To Teach The World To Sing (In Perfect Harmony)
[2:51] 8. Tonight
[2:57] 9. Evergreen
[4:36] 10. Circles
[2:49] 11. Beg, Steal Or Borrow
[2:06] 12. Dance, Dance, Dance

The New Seekers were a revival of the successful Australian folk outfit The Seekers that achieved major success in the UK and USA with songs like Georgy Girl, although none of the original members of the Seekers sang in the New Seekers. Their hit-making career started in 1971 with a cover of Melanie Safka's What Have They Done To My Song, but the real breakthrough came later that year with the exuberant Never Ending Song Of Love. The original, by Delaney and Bonnie Bramlett, also made the charts but the New Seekers' lively melodic version with its bright vocals was clearly the more commercially appealing.

Other tuneful hits here include Beg, Steal or Borrow (A UK Eurovision Song Contest entry), the beautiful Circles and a stunning, genuine rock version of Pete Townsend's Pinball Wizard (See Me Feel Me). They also had hits with You Won't Find Another Fool Like Me and I Get A Little Sentimental Over You but these were tepid ballads in my opinion and I'm still not fond of them. The cover versions of famous 60s and 70s songs are better. And then there's their biggest hit that started out as a famous soft drink commercial: I'd Like To Teach The World To Sing. Erm, not my favorite either, probably because it was overplayed then and I've had enough of it forever. It's just a singalong ballad and does not compare well with their best songs like Never Ending Song Of Love and the stunning Pinball Wizard. This album is a great collection of their hits and best album tracks and I recommend it to all who love bright pop music and the poppier side of 60s and 70s folk. ~Peter Uys/amazon

The Best Of The New Seekers

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Monica Ramey And The Beegie Adair Trio - St

Styles: Vocal Jazz, Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 71:56
Size: 165,9 MB
Art: Front

(4:19)  1. As Long As I Live
(5:54)  2. I Thought About You
(6:45)  3. I'll Close My Eyes
(4:07)  4. Witchcraft
(3:33)  5. This Could Be the Start of Something Big
(7:42)  6. Change Partners
(4:05)  7. Look At Me Now
(5:40)  8. Lullaby of the Leaves
(5:17)  9. Fly Away
(4:41) 10. You Fascinate Me So
(5:16) 11. Whisper Not
(5:48) 12. It Amazes Me
(3:46) 13. Will You Still Be Mine
(4:54) 14. Why Did I Choose You

The true beauty of any Beegie Adair recording is that it will be straight down the middle mainstream jazz. It is money in the bank. Adair's 50-year career has found her leading her jazz trio, writing advertising jingles and accompanying vocalists, as she does on the present Monica Ramey and the Beegie Adair Trio. Ramey, a native of the midwest, take a predictably conservative approach to the Great American Songbook. Her doing so does us the favor of reminding us of jazz's most sturdy and enduring legacies, the assimilation and transformation of Tin Pan Alley and Show Tunes into the fabric of the American music vernacular.  Ramey and Adair together create a certain low-key synergy, something like the momentum achieved when a large object starts to move. That large object is the repertoire and the singer and pianist have launched it against a zero coefficient of friction making the music seem to float regardless of its historic baggage. The tempi are breezy to brisk and the arrangements are dependable. The additions of trumpeter George Tidwell and saxophonist Denis Solee are well placed in the overall scheme of the recording. This is a very able recording to remind us of the simple pleasure of cocktail hour jazz: not too demanding and superbly played. ~ C.Michael Bailey   http://www.allaboutjazz.com/php/article.php?id=44361#.Usskh7Rc_vt

Personnel: Monica Ramey: vocals; Beegie Adair: piano; Roger Spencer: bass; Chris Brown: drums; George Tidwell: trumpet, flugelhorn; Denis Solee: saxophones, flute.

Monica Ramey and the Beegie Adair Trio

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Laura Fygi - Rendez Vous

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 51:10
Size: 127,0 MB
Art: Front

(3:16)  1. Le Continental
(3:37)  2. Le Temps Qui Passe
(3:32)  3. Divine Biguine
(4:30)  4. Pour Te Plaire
(2:43)  5. C'est Si Bon
(3:31)  6. Nuages
(3:25)  7. Tout Le Jour, Toute La Nuit
(4:24)  8. Volons Vers La Lune
(1:44)  9. Quelqu'un M'Aimera
(4:20) 10. Tu Viens Dans Ma Tête
(3:13) 11. La Complainte De Mackie
(4:33) 12. Autour De Minuit
(4:29) 13. Caravane
(3:47) 14. Dansez Maintenant

Laura Fygi  who celebrated her 15th anniversary as a solo singer last year  returns to her French roots on her  CD Rendez-Vous. The collection of songs on Rendez-vous is inspired by the famous Hot Club de France-era, of which Django Reinhardt and St‚phane Grappelli are well-known exponents. The world-famous tracks from Cole Porter, Kurt Weill, Glenn Miller and George Gershwin and others were adapted by Laura's own band. Rendez-Vous is a wonderful CD of jazzy evergreens sung in French Universal. ~ Editorial Reviews  http://www.amazon.com/Rendez-Vous-Laura-Fygi/dp/B000TZV7E4

Rendez Vous

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Judy Blair - Close Encounter

Styles: Hammond Organ
Year: 2010
File: MP3@320K/s
Time: 58:40
Size: 134,8 MB
Art: Front

( 4:16)  1. Cayenne Blues
( 7:43)  2. Torii Station
( 5:59)  3. Old Grandad
( 5:17)  4. Until the Real Thing Comes Along
( 6:26)  5. Jingles
(10:46)  6. Houston S Blues
( 6:41)  7. Misty
( 4:53)  8. Bird Alone
( 6:36)  9. C'Est Tout

Judy Blair was born in East Texas and has been singing and playing the piano, synthesizer and the Hammond B3 organ professionally for more than 40 years. Judy has performed solo and with groups all over the United States in New York, Dallas, San Francisco, Los Angeles, Carmel, Reno, Santa Fe, and many other cities including a three year stint in New Orleans playing with the best. She also performed during a two year period in the CARIBBEAN and has appeared on JAPANESE television in a travel series about California. She has played numerous jazz and blues concerts, festivals and clubs in France as well as in other parts of Europe . 

1997 - She recorded and produced an album in France, “LES COULEURS DU NOIR ET BLANC” on which she plays solo piano and sings ballads and American Standards. It includes original compositions by JUDY. 1999 - She recorded a second CD in DALLAS, TEXAS called “THE OTHER PLACE” in collaboration with her brother DONNY BLAIR on guitar, BRUCE TATE on electric bass and DINO VERA on drums. On it, she plays piano and Hammond B3 organ and it includes original pieces by both JUDY and DONNY BLAIR. 

2000 - She recorded a third one “CLOSE ENCOUNTER” in NEW YORK, playing the Hammond B3 organ with HOUSTON PERSON (tenor-sax), ALVIN QUEEN (drums), REGGIE JOHNSON (bass) and DONNY BLAIR (guitar). Like the others, this CD included original material.   

Her fourth CD “SUNSHINE” was recorded in DALLAS, TEXAS. She sings, plays piano and Hammond B3 along with her brother DONNY BLAIR (guitar), ABDU SALIM (tenor sax), CHRISTIAN (Ton Ton) SALUT (drums) and guest artist LUCKY PETERSON (vocals, piano and Hammond B3). All the songs on this album were written by JUDY and one was co-written with LUCKY PETERSON. JUDY BLAIR now resides in SOUTHWEST FRANCE near Cahors in the Quercy region. She continues to record and perform at festivals, concerts, clubs as a solo artist as well as with different musical formations and spends part of her time writing and composing music.

http://www.judyblair.com/?section=bio

Close Encounter

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Marc Copland - Some More Love Songs

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 48:59
Size: 112,2 MB
Art: Front

(8:49)  1. I Don't Know Where I Stand
(7:47)  2. My Funny Valentine
(5:47)  3. Eighty One
(5:12)  4. Rainbow's End
(9:45)  5. I've Got You Under My Skin
(4:09)  6. I Remember You
(7:27)  7. When I Fall In Love

Pianist Marc Copland who, oddly, began his jazz career as a saxophonist took an artistic leap forward with his three New York Trio recordings on Pirouet Records. Employing a rotating crew of bassists with Gary Peacock, Drew Gress, and drummers Paul Motian and Bill Stewart, the pianist rose to a higher profile via his nearly unsurpassed musical excellence. The pianist interpreted standards (and some not-so-standards), along with his own top-flight original compositions, in conjunction with an astute marketing choice of releasing, over the course of three years, this triptych of similarly handsomely packaged outings, much in the fashion of Brad Mehldau's five Art of the Trio (Nonesuch Records, 2011) recordings. Before the New York sets there was the perhaps overlooked Some Love Songs (Pirouet Records, 2005), that included transcendent explorations of tunes by Joni Mitchell , saxophonist Wayne Shorter, Richard Rodgers and Victor Young a recording that rivaled almost any of iconic pianist Bill Evans' best work. 

Now Copland follows Some Love Songs with Some More Love Songs. It's hard to imagine the success of Copland without Evans' ground-breaking, his strong contribution to trumpeter Miles Davis' classic Kind of Blue (Columbia, 1959), and the subsequent consistency of his superb trio recordings over a more-than twenty-year run, from the late fifties until the pianist's untimely death in 1980. Copland has taken Evans' approach of trio democracy, sonic luminosity and harmonic depth and created his own personal language on this the high point for now musical journey. 

The set opens with Joni Mitchell's lovely and fragile "I Don't Know Where I Stand," a re-visitation of the tune Copland recorded solo on Alone (Pirouet, 2009). This version benefits from the nuanced accompaniment of his trio mates, bassist Drew Gress, and drummer Jochen Rueckert. The mood is floating and uncertain, mirroring the lyrical content of Mitchell's version, leading into an up-tempo, beautiful and brash take of the classic "My Funny Valentine," with its implacable momentum. "Eighty One" from the songbook of legendary bassist Ron Carter and Miles Davis' ESP (Columbia, 1965), the debut from what would become the trumpeter's second great quintet is cool and mysterious, the interplay highly nuanced. "Rainbow's End," Copland's lone original composition, shimmers like late afternoon sunlight reflecting off the facets of wavelets on a wind-ruffled pond, while Cole Porter's ever-familiar "I've Got You Under My Skin" a 1956 masterpiece by Frank Sinatra, who sounded supremely suave and confident on his take gets a wandering and impressionist treatment by Copland's trio, with the heart of the melody slipping in and out of the shadows. The set closes with one of its most tender moment, Victor Young's "When I Fall In Love," brimming with sparkling optimism and a fitting wrap-up to what may be Copland's finest trio outing to date. ~ Dan McClenaghan   http://www.allaboutjazz.com/php/article.php?id=42222#.UssTwrRc_vs

Personnel: Marc Copland: piano; Drew Gress: bass; Jochen Ruekert: drums

 

Some More Love Songs

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Frank McComb - Remembering Donny Hathaway: Live At The Bitter End

Size: 99,4 MB
Time: 42:49
File: MP3 @ 320K/s
Released: 2013
Styles: Soul, Jazz Soul
Art: Front

01. Introduction - Love, Love, Love (Feat. Jodine Dorce) (5:22)
02. You Were Meant For Me (5:03)
03. Someday We'll All Be Free (5:06)
04. Flying Easy (3:38)
05. Acknowledgements (2:25)
06. We'll Carry Your Name On (6:52)
07. A Song For All (Medley A Song For You - For All We Know) (9:06)
08. Little Ghetto Boy (Feat. The Civ Soul Band) (5:12)

We've seen it dozens of times: Artists who bristle when being compared to greats of past years, even when the vocal or stylistic similarities are obvious to even casual music listeners. But that has never been Frank McComb. From the moment soul music fans first heard him, either as part of the group Buckshot LeFonque or when he released his solo debut album, Love Stories, the similarity of his voice to that of legendary singer Donny Hathaway was striking. It's not that his style mimicked that of Hathaway. McComb, while also a piano-playing, songwriting baritone, came out of the box with a style more jazz-influenced and more improvisational that Hathaway's. But the questions were nonetheless asked of him again and again, and I always admired the way McComb responded: He saw the comparison not as a threat to his own artistry, but rather as a compliment as to the level of accomplishment of his work. It takes an artist who is comfortable in his own musical skin to not only accept repeated comparisons, but to embrace them. And McComb gives the ultimate hug to Hathaway's legacy with his newest release, Live at the Bitter End: Remembering Donny Hathaway.

For an artist who only released three solo studio albums, Donny Hathaway has cast an unusually large shadow over an entire generation of soul music performers. With an almost singular gravitas as a soul music songwriter and vocal interpreter, he has become the kind of artist whose name is often uttered in hushed tones. Maybe it is for that reason that recorded tributes to him have been surprisingly few. But with Live at the Bitter End (which was supported by a November, 2013 Kickstarter campaign), McComb not only takes the legacy head on, he does it at the location of Hathaway's legendary 1971 concert recording.

The disc opens with an introduction by ubiquitious New York soul music host, Jodine Dorce, and leads into a largely acoustic, intimate set of familiar songs, beginning with "Love, Love, Love." This cut, originally recorded by Hathaway on his Extension of a Man album, sets the template for McComb's approach throughout the album: Vocally, he sounds like Hathaway's long lost son, but musically he avoids being too reverential to the original versions; reinterpreting, improvising and adding runs to take the songs from the familiar to the unknown and back again - all with just a piano and his voice. So, while the recognizeable first bars of "Someday We'll All Be Free" provide the chills of the Hathaway original, McComb detours into dramatic musical interludes that give new life to lyrics that spoke volumes a generation ago. The same can be said for "Flying Easy, "You Were Meant for Me" and the medley "A Song For You / For All We Know," each starting in a familiar fashion before moving through musical diversions that provide both immediacy and uniqueness to the live performance.

Amid the set of covers is an unexpected gem: McComb wrote a tribute song for Hathaway in the early 90s that was never released, but "We'll Carry Your Name On" becomes a surprise highlight of Bitter End; it's a song that serves as a homage to Hathaway's serious legacy while also touching lighter career references like "This Christmas" and even the theme song from the 70s television show, Maude.

At a time when we've grown annoyed with the volume of "covers" albums hitting the market - tired attempts to capitalize on the popularity of the classic songs of Detroit or Philadelphia - once in awhile an album of reinterpreted material arrives that provides a different look and actually helps us to again appreciate the underlying compositions and the original artists who made them. Live at the Bitter End is just that kind of album, a loving tribute made by the right artist at the right location. Best of all, Bitter End removes those overly reverential, church-like hushed tones that have been cast over Hathaway and his music since his death 35 years ago, and instead allows the true, living legacy of the songs, the musicianship and even the fun to scream, full-voiced, all over again. Highly Recommended. ~Review by Chris Rizik

Remembering Donny Hathaway: Live At The Bitter End

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Shivani Kumar - Where Do We Go From Here

Size: 109,6 MB
Time: 46:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Well You Needn't (2:56)
02. The Best Is Yet To Come (2:31)
03. Midnight Sun (6:29)
04. Beautiful Love (2:23)
05. Where Do We Go From Here (3:01)
06. Softly, As In A Morning Sunrise (2:37)
07. Round Midnight (4:01)
08. A Night In Tunisia (3:36)
09. The Summer Knows (4:36)
10. I've Got You Under My Skin (3:26)
11. Dindi (3:55)
12. Satin Doll (3:07)
13. A Sleepin' Bee (4:09)

Shivani chose her favorite jazz musicians from her home state of Hawaii to help her create this album. On piano is
Jim Howard and Les Peetz, both top notch players well known for their creativity and empathetic accompaniment talents. On drums we have Chuck James and Lew Maddox, who have both been at the top of the jazz drummer list in Hawaii for many years. On upright bass is Miles Jackson, one of the most talented jazz bassists to have ever lived and played in this island paradise.

Shivani hand picked the songs to highlight her talents as well as those of the other musicians, who really bring these songs to life. So even though they were performed in the studio, it almost seems like you are present at a jazz club or concert. The musical interplay between all the musicians and Shivani can be heard and felt throughout the album.

Shivani began her career at age five and in school played several instruments and won a college music scholarship. She was Denver’s Darling for many years, singing nightly in the hottest jazz club, the Senate Lounge. She fronted several bands and traveled extensively throughout the United States, settling in Los Angeles to became a staff writer for Motown Records. One of her songs “Step By Step” took the winning award at the American Song Festival.

Hawaii has been her home now for many years where she performs regularly with her band Clear Sky, as a soloist, and with other bands. She is currently both featured jazz singer & jazz pianist/accompanist on the Star Of Honolulu dinner cruise boat. She has entertained in the major hotels and clubs, traveled as far as Japan and other parts of Asia, and performed on cruise ships in the Pacific and Caribbean. She is also a composer, recording artist, and private music instructor.

Where Do We Go From Here

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Marty Grosz Quartet - Just For Fun

Bitrate: 320K/s
Time: 61:44
Size: 141.3 MB
Styles: Contemporary jazz
Year: 1996
Art: Front

[5:58] 1. All I Do Is Dream Of You
[4:09] 2. Just Friends
[7:49] 3. Love Is Just Around The Corner
[4:22] 4. It's The Talk Of The Town
[4:52] 5. How Can You Face Me
[6:48] 6. Mood Indigo
[5:39] 7. Sweethearts On Parade
[4:37] 8. Ain't Misbehavin'
[4:02] 9. A Hundred Years From Today
[3:07] 10. If I Had A Talking Picture Of You
[5:06] 11. Memphis Blues
[5:12] 12. The Lady Is In Love Ith You

Like Eddie Condon, one of his early mentors, acoustic guitarist and vocalist Marty Grosz has always preferred playing in small combos. The present occasion, as recorded live in Hamburg's Amerika Haus, is no different in that respect from the many stateside sessions he has recorded over the years under such fanciful names as Destiny's Tots, the Hot Cosmopolites, the Orphan Newsboys, the Paswonky Serenaders, and the Collector's Item Cats, the latter a sobriquet he stole from an exceedingly obscure 1940 78 by Wild Bill Davison and Boyce Brown. So much for his literarily arcane, jazzlore-rich wit, which has also, invariably to his admirers' delight, graced the liner notes of equally well-informed jazz recordings.

Featured with Grosz on this overseas progress through tunes both familiar and rarely tried are trumpeter Alan Elsdon and baritonist, altoman, and clarinetist Johnny Barnes, both longstanding veterans of the British trad scene, and Australian-born bassist Murray Wall, now a well-established New York-based mainstreamer. A master of the plunger mute, Elsdon throughout summons up memories of Muggsy Spanier and Cootie Williams, while Barnes has long been considered one of the best baritone players of any nationality to master the full-bodied, booming, Adrian Rollini-Ernie Caceres approach to the lower ensemble voice.

Grosz's vocals are, as always, models of their kind, with the joint influence of Fats Waller's rent-party humor and Red McKenzie's highly personal synthesis of jazz phrasing and melodramatic pathos never far from the surface. For an example of the latter, listen to "Just Friends," one of Red's early hits. Elsdon takes the vocal on "Sweethearts On Parade," while Barnes emotes with similar effectiveness on "If I Had A Talking Picture Of You," a parody of an early '30s Bing Crosby number that even includes a half-chorus in German. ~Jack Sohmer

Just For Fun

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Rosemary Loar - The Quando Swing

Bitrate: 320K/s
Time: 47:19
Size: 108.3 MB
Styles: Vocal jazz, Cabaret
Year: 2008
Art: Front

[4:08] 1. The Quando Swing
[3:44] 2. Prelude To A Kiss
[3:59] 3. Heart And Soul Every Time We Part
[3:44] 4. I Ain't Got Nothin' But The Blues
[3:32] 5. Since I Fell For Ice Cream
[5:39] 6. Remember That You Did It First With Me
[4:15] 7. One O'clock Jump
[4:01] 8. I Wanna Get Married
[4:56] 9. Cold
[2:52] 10. The Wrong One
[4:08] 11. Shine It On
[2:15] 12. When You Wish Upon A Star

Everyone knows that jazz is a cool, intellectual and rarified art form that can only be appreciated by true devotees. Or not.

For ROSEMARY LOAR, jazz is a smorgasbord, a feast of incredible tastes and textures. In The Quando Swing, she makes it her business to give her listening audience the opportunity to sample each and every one of those exotic flavors. Rosemary can flit into a light and bouncy swing that includes a “word-scat” a la Annie Ross, lay back, soulful and sultry (“I Ain’t Got Nothin’ But the Blues”), or hypnotize you with a sublime version of a classic balled (“Prelude To A Kiss”). Rosemary also introduces us to some great new standards for our time: The “Wrong One” by David Friedman, the haunting “Remember” from Irish singing duo Zrazy, and Annie Lennox’ brilliant “Cold.” She gives us memorable arrangments of classic jazz standards, but is not afraid to turn our expectations on their heads. Rosemary adds one more flavor that is uniquely her own - a quirky and spontaneous sense of humor, seen in her rendition of Nellie Mc Kay’s “I Wanna Get Married,” and in where she takes Giaccomo Puccini’s “Quando Me’n Vo,” from the world famous opera La Boheme.

Rosemary Loar fell in love with jazz the first time she heard Billie Holiday sing on a scratchy old 78 LP. And sing jazz is what she did when she first came to New York, working in many of New York’s legendary downtown jazz spots. Now, five Broadway shows and numerous national tours and regional productions later, Rosemary returns to her first love.

The Quando Swing is Loar’s fourth CD. She is backed by music director/pianist , Frank Ponzio, accoustic bass player, Peter Donovan, (Audra McDonald, Barbara Cook), and drummer, Vito Lesczak (Andy Bley). Rosemary Loar was featured vocalist for the PBS production, New Year’s Eve with Guy Lombardo, and has performed with the North Carolina, Orlando, Nelson Riddle and Peter Duchin Orchestras. She was the creator and co-producer of the Alternative Torch concert series of the New Voices Collective at New York’s Symphony Space, which ran for three seasons. Rosemary is also a rock/pop composer/songwriter and has released three CDs of her original music : Alternative Torch, Through Women’s Eyes, and Water From The Moon (which is also the score for her original musical of the same name and for which she wrote both the book and music.)

The Quando Swing

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Kikoski Carpenter Novak Sheppard - From The Hip

Bitrate: 320K/s

Time: 69:44

Size: 159.6 MB

Styles: Straight ahead jazz

Year: 2013

Art: Front

[7:44] 1. Star Eyes

[7:26] 2. From Ton To Tom

[9:19] 3. Bolivia

[8:37] 4. My One And Only Love

[7:58] 5. How Deep Is The Ocean

[7:41] 6. If You Could See Me Now

[6:36] 7. Autumn Leaves

[6:16] 8. Tones For Joan's Bones

[8:05] 9. Mr. PC

In 2006, pianist David Kikoski was invited to perform and record in front of a live audience at the private Beverly Hills studio of George Klabin, President of the Rising Jazz Stars Foundation. Kikoski brought in some of his first-call friends for the occasion and, with nary a rehearsal to be had, put on a stunner of a standards-based show; the nine tracks that make up From The Hip were recorded at that gathering.

Kikoski, saxophonist Bob Sheppard, drummer Gary Novak, and bassist Dave Carpenter, who passed away shortly after this recording took place, form a compelling unit that injects new life into these old gems. The eyebrow-raising bass riff that ushers in the album-opening "Star Eyes" makes it clear that this isn't a case of a group of pros simply phoning it in. This quartet invests its creative energy into this music and that investment pays off in artistically satisfying dividends.

The aforementioned "Star Eyes" proves to be a winner right out of the gate, but that's only the beginning. The band follows that up with a visit to Brazil, via Toninho Horta's "From Ton To Tom," and a trip to Cedar Walton's "Bolivia," which takes flight on the wings of Novak's full throttle drumming. Sheppard shines all by his lonesome at the outset of "My One And Only Love" while Kikoski captures the most attention on the pair of tunes that follow; his introduction and solo on "How Deep Is The Ocean" are the clear highlights there, and he's the focal point on a sans-Sheppard trio take of "If You Could See Me Now." That number opens with sparkling pianisms and ends with a piano cadenza of note, but the joyous music that takes place in between is a testament to the communicative force(s) at play between Kikoski, Novak and Carpenter.

From The Hip is terrific, but it isn't perfect. Carpenter's intonation, for example, could be called into question in a few spots, but that's beside the point. Little issues like that do little to diminish the overall experience of hearing music like this performed by musicians who are this well-studied in the art of marrying the structured with the spontaneous.

David Kikoski: piano; Dave Carpenter: bass; Gary Novak: drums; Bob Sheppard: saxophones.

From the Hip

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Karin Plato - A State Of Bliss

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 63:59
Size: 147,4 MB
Art: Front

(3:01)  1. Up With The Lark
(5:43)  2. Let's Take An Old Fashioned Walk
(3:34)  3. Blue Room
(3:52)  4. Big Black Crow
(6:21)  5. Diamonds On The Waves
(4:02)  6. I Hear Music
(4:54)  7. My Favorite Things
(5:32)  8. Time Will Not Wait For You
(5:57)  9. Pennies From Heaven
(7:08) 10. Here It Is
(4:26) 11. Cast Your Fate To The Wind
(5:53) 12. Summer Will Follow
(3:29) 13. The State Of Bliss

The State Of Bliss is Karin Plato’s fifth recording since 1996. Released in May 2003 the disc features Karin singing with three different rhythm sections. The songs include arrangements of familiar jazz standards as well as several of Karin's original compositions. A special highlight on "The State Of Bliss" is the guest appearance by acclaimed Canadian jazz vocalist Denzal Sinclaire. Denzal sings two duets with Karin: the swinging "I Hear Music" and the lovely waltz "Let's Take An Old Fashioned Walk" by Irving Berlin.  Noted Canadian producer Torben Oxbol who collaborated with Karin on previous CD's including her JUNO NOMINATED "THERE'S BEAUTY IN THE RAIN" in 1998 and "BLUE AGAIN " in 2000 is the producer of "The State Of Bliss ". Musicians on the recording include guitarist Bill Coon, saxophonist Campbell Ryga, pianist Ross Taggart, pianist Bob Murphy and several other of Canada's finest jazz musicians based in Vancouver, BC.

Nominated "Canadian Jazz Vocalist of the Year" at THE NATIONAL JAZZ AWARDS 2003 in Toronto, Canada (the award went to Diana Krall), Karin continues to win new fans everywhere that she performs. "The State Of Bliss " showcases the talent of one of Canada's rising stars in jazz. A blissful state indeed... http://www.cduniverse.com/productinfo.asp?pid=7156261&style=music&fulldesc=T

A State Of Bliss

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Kristin Porter - By the Light of the Moon

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 16:05
Size: 37,1 MB
Art: Front

(2:24)  1. It Could Happen to You
(3:35)  2. Teach Me Tonight
(3:27)  3. Light of the Moon
(2:48)  4. Moody's Mood for Love
(3:49)  5. Never Telling Me You Loved Me

"Kristin has a voice with a warmth and richness of someone twice her age. Take a listen to this bright young star!"~  Roy Agee.

This album takes pages from the Great American Songbook, as well as featuring Kristin's originals. You'll find swingin' Jazz, Bossa grooves, sultry lyrics, even a little Reggae. The last track, Kristin's original, "Never Telling Me You Loved Me", leaves you wanting more. This track hints at Kristin's love for the Blues, and showcases her influence from great Jazz/Blues composers that influenced her, such as Harold Arlen.  

http://www.cdbaby.com/cd/KristinPorter/from/tblink

By the Light of the Moon

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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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