Laura Taylor - Have Mercer On Me

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 57:43
Size: 132,9 MB
Art: Front

(6:11)  1. When The World Was Young
(3:14)  2. On The Atchison, Topeka And The Santa Fe
(4:18)  3. Skylark
(2:51)  4. The Glow Worm
(4:45)  5. Come Rain or Come Shine
(8:03)  6. Midnight Sun
(2:32)  7. Accentuate the Positive
(3:29)  8. I'm Old Fashioned
(6:31)  9. Laura
(2:15) 10. That Old Black Magic
(4:54) 11. Out of This World
(4:38) 12. Early Autumn
(3:56) 13. Moon River

Critical acclaim and national radio airplay have been given to Laura’s five jazz CDs: Have Mercer on Me, features pianist and Ben Vereen conductor David Loeb, bassists Bob Sachs and Derek Jones, pianist Bob Rozario, drummer Michael Mecham, guitar great Joe Lano and percussionist Lenny Lopez.   My Funny Valentine…a tribute to Chet Baker, features jazz legends Eddie Gomez, Steve Kuhn and Louis Nash.  Mountain Greenery features jazz greats Jack Sheldon, Pete and Conte Condoli Red Holloway and guitarist Joe Lano; Cry Me a River, a tribute to the late Julie London, features Joe Lano and Tom Warrington, and Songs of the Winter Season, also featuring Joe Lano and Tom Warrington.

While continuing to live in Las Vegas, Laura does many special events and concerts. A highlight of 2012 was Laura’s October 25th performance at The Smith Center For the Performing Arts Cabaret Jazz Theater. Titled “Something’s Coming”, this debut performance at the Smith Center had a full house that gave Laura two standing ovations. Laura will be returning to the Smith Center on April 24, 2014, doing a program titled “It Might As Well Be Spring”(see web site announcements for details).  2011 and 2012 saw Laura doing three appearances at Michael Feinstein’s beautiful club in New York… “Feinstein’s”. Michael gave Laura a warm welcome by enthusiastically attending one of those performances.

Most recently Laura did her second annual appearance as part of the legendary Joe William’s Scholarship Concert. In addition to Laura, the incredible UNLV Jazz Band 1 led by David Loeb and Nathan Tanoye backed performers such as Ben Vereen, Marlena Shaw, and The Cunninghams, and several others.  All performers donated their performances to help raise money for these very talented students and this great program! Laura has also appeared with these great jazz students as the featured soloist in The Duke Ellington Sacred Concert, a challenging, beautiful work which also featured the wonderful Las Vegas Master Singers.... More  http://laurataylor.com/about/

Have Mercer On Me

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Caroline Daly - Jazz On The Rock

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 42:08
Size: 97,1 MB
Art: Front

(2:54)  1. I Still Australia Home
(3:09)  2. Route 66
(3:32)  3. Fever
(3:25)  4. Baubles, Bangles & Beads
(5:23)  5. Peel Me A Grape
(2:11)  6. Do Nothin' Til You Hear From Me
(5:09)  7. Time After Time
(4:26)  8. This Masquerade
(4:53)  9. Our Love is Here To Stay
(3:05) 10. Alright Ok You Win
(3:58) 11. Blues Walk

Long ago as a little girl lying in the orange grove on my family's ranch,I would dream of dancing on far away stages...My four big brothers would tease me as I sang into my imaginary microphone. Little did I know that one day I would be singing jazz to audiences all around the world and performing with such incredibly talented musicians. I salute my loyal musicians who were willing to take risks and have fun at the same time. A standout was Tedd Firth known as the "wonderkid " on the New York jazz and cabaret scene. As an accompanist , he seemed to know where I was going before I did! I considered it appropriate to finish up with the band playing our usual rousing finale "Blues Walk" In this album, I am unafraid to be myself and this feeling I think is reflected in my songs. Many years ago my "sisters and brothers" at the United Jazz Associates Agency" in Brooklyn took this Aussie chick under their wings and pointed her in the right direction with love. 

They set me up with Brooklyns finest jazz musicians including Ed Stout (piano) Harold Ousley (sax) Abdus Sabor (percussion and congas) Rudy Lawless (drums) Bob Cunningham (bass) and linked me with international stars such as Stanley Banks, a world so remote and exciting to a singer far from home. Check out on in "Blues Walk" the incredible technical brilliance of Rick Germanson (piano) Gerald Hayes (alto sax -) Eric Lemon (bass) Kenyatta Beasley (trumpet) Bennet Harris ups the energy on blues harp in "Route 66" and "Alright ok you win!" Hear Caroline and Steve Kaiser ( bass and vocals) having fun harmonising in "Our Love is Here to Stay"  Clifford Brown Jr.  (KCSM Jazz Radio) says "Caroline swings and has a great rapport with her audience" NOW LET THIS AUSSIE DIVA TAKE CENTER STAGE!!  

http://www.cduniverse.com/productinfo.asp?pid=7164219&style=music&fulldesc=T

Jazz On The Rock

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B.J. Jansen - Ronin

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 54:07
Size: 124,7 MB
Art: Front

(6:02)  1. Ronin
(5:05)  2. Rose for Noriko
(8:44)  3. Best Fiend
(6:06)  4. The Cost
(6:04)  5. Blues for C.P.
(5:22)  6. Manhattan Trane'in
(7:16)  7. Brother Sid
(5:09)  8. Diamonds for Lil
(4:16)  9. The Code

His first new release in nearly two years, B.J. Jansen returns with a new quartet album RONIN. RONIN hits the streets March 4th, 2014 and features; Mamiko Watanabe on piano, Mike Boone on bass, Amanda Ruzza on bass, Chris Beck on drums and Dorota Piotrowska on drums.

During the feudal period in Japan (1185-1868), a Ronin was a samurai (knight) with no lord or master. A samurai could become masterless from the death or political fall of his master, or simply by the loss of his master's favor. Ronin amassed during periods of long peace when their warrior training was not needed. Some Lords released samurai for strictly financial reasons during these periods. By law a Samurai was forbidden to have a job, so many fell into poverty and lives of crime to feed themselves and their families. Others, simply disgraced committed suicide.

" The plight of the Ronin draws many similarities to what I have observed with those of us who adopt the way, or follow a life of the study of the art and craft of instrumental improvised music. Live performance and revenue streams have become increasingly scarce as society and technology have changed. However, like the Ronin, we artists persist as warriors and keepers of the flame, devoting our lives to the propagation of the Music. We have become drifters, outsiders, masterless and seeking the truth of who we are as artists and people.

RONIN was conceived with the inspiration and perspective of the ancient masterless samurai. I have reflected on my own trials, tribulations and triumphs along the path I have chosen. From reflections and life events I was inspired to write this collection of original compositions. I sincerely hope that you will join me on my journey along the path. " - B.J. Jansen  

http://www.jazzcorner.com/news/display.php?news=4279

Ronin

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Topsy Chapman & Magnolia Jazzband - Fine and Mellow

Styles: New Orleans Jazz
Year: 1994
File: MP3@320K/s
Time: 69:36
Size: 159,7 MB
Art: Front

(7:57)  1. Fine And Mellow
(6:44)  2. You Can't Tell The Difference After Dark
(7:52)  3. My Man
(6:33)  4. Let The Great Big World Keep On Turning
(5:47)  5. When I come to the end of my journey
(5:48)  6. Yesterdays
(9:37)  7. Close to you
(7:06)  8. My sin was lovin' you
(6:50)  9. The same old love
(5:17) 10. Please, don't talk about me when I'm gone

The delightful musical One Mo'Time introduced singer Topsy Chapman to admiring audiences around the world. The production, which is set in 1920s New Orleans, reached cult status in its run at the old Toulouse Theater in the French Quarter in the 1980s before being exported to New York and then to Europe. Much of the local cast traveled with the play and thus Chapman, long-considered a living treasure in New Orleans, received some well-deserved exposure before a larger audience. Chapman, who grew up not far from New Orleans in Kentwood, LA, was raised in the gospel music tradition. That gospel-tinged fervor is evident in her voice today, as she sings with some of the top musicians in the city of New Orleans. She still makes appearances at some of the popular gospel brunch venues around the city, but she mostly lends her elegant style to groups such as the Magnolia Brass Band, the Jim Cullum Jazz Band, and the Lars Edegran Orchestra.

She gigs with the best of the best at venues in the Crescent City at popular clubs such as Donna's, Snug Harbor, and the Palm Court, as well as at the New Orleans Jazz and Heritage Festival, and the Satchmo Summerfest. Chapman's affinity for the music of Armstrong is captured on her 2001 CD My One and Only Love. Recorded as Topsy Chapman and the Pros, the record does feature some real pros, such as Lucien Barbarin, Don Suhor, and Duke Heitger. The singer is joined on vocals by her two daughters, Yolanda "Peb" Windsay and Jolynda "Kike" Phillips. Among the selections are Armstrong's "Someday You'll Be Sorry" and "I Still Get Jealous." Another excellent release is Jazz in New Orleans: The Nineties. Working with Brian Carrick and his New Orleans Heritage Band, Chapman has made an uplifting record of gospel tunes such as "In the Sweet By and By" and "Just a Closer Walk With Thee." Her work with the Magnolia Jazz Band can be heard on their 1994 eponymous release, featuring jazz standards and popular tunes. The vocalist also appears on Cubanismo!'s 2000 CD Mardi Gras Mambo-Cubanismo! in New Orleans. Chapman really fits in the groove, especially on her danzon-style duet with John Boutté, "It Do Me Good." In 2002, Chapman was nominated for Best Female Jazz Vocalist in the prestigious Best of New Orleans Awards given by Gambit magazine. With several records out there, personal appearances, and glowing reviews in journals from Ebony to the New York Times, her star is shining brighter than ever. Bio ~ Rose of Sharon Witmer  http://www.allmusic.com/artist/topsy-chapman-mn0000792037/biography

Fine and Mellow

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Danny Moss - Danny Moss Meets Buddha's Gamblers: A Swingin' Affair

Bitrate: 320K/s
Time: 63:04
Size: 144.4 MB
Styles: Swing, Saxophone jazz
Year: 1996
Art: Front

[4:50] 1. Just You, Just Me
[6:35] 2. Moten Swing
[5:30] 3. D.M. Blues
[6:12] 4. Moppin' And Boppin'
[4:14] 5. A Smooth One
[6:39] 6. The Jeep Is Jumpin'
[4:17] 7. Georgia On My Mind
[4:47] 8. Crazy Rhythm
[6:59] 9. Swingin' The Blues
[4:49] 10. Sweet And Lovely
[8:07] 11. The King

A superior swing-based tenor saxophonist, Danny Moss is heard here on one of his finest sessions. He is joined by Buddha's Gamblers, an exciting German septet. Together they explore some of the most viable devices of the swing era, including heated and riff-filled renditions of "Just You, Just Me," "The Jeep Is Jumpin'," "Crazy Rhythm," and "The King." Moss and the band clearly inspired each other, and there are plenty of stirring performances throughout this highly recommended German import. ~Scott Yanow

Danny Moss Meets Buddha's Gamblers: A Swingin' Affair

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Janet Macklin - Floating On The Silence

Bitrate: 320K/s
Time: 60:33
Size: 138.6 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[2:33] 1. I'm Gonna Sit Right Down And Write Myself A Letter
[5:11] 2. Girl From Ipanema
[5:20] 3. Someday My Prince Will Come
[3:18] 4. Exactly Like You
[4:53] 5. Corcovado
[4:56] 6. Lullaby Of Birdland
[6:24] 7. Dindi
[4:02] 8. Louisiana Fairytale
[4:48] 9. It's Only A Paper Moon
[7:30] 10. Willow Weep For Me
[4:58] 11. Summertime
[4:51] 12. Desafinado
[1:43] 13. Dream A Little Dream For Me

A native of Long Island, Janet began performing in the early 1980s in New York City's Greenwich Village. After moving to Wisconsin in 1985, she became established as a solo vocalist and guitarist, with much of her repertoire gleaned from the Tin Pan Alley era.

In 1998 The Janet Macklin Quartet was formed. The jazz quartet has performed at many state festivals, including Green Bay's Bayfest and Art Street, Appleton's Art in the Park, The Ripon and Neenah Jazz Festivals, The Fond du Lac Art Center Jazz Concert Series, The Kettle Moraine Jazz Festival in West Bend, Milwaukee's Bastille Days, Summerfest, Boerner Botanical Gardens, Cathedral Park Square Concert Series, and A la Carte at the Zoo, as well as Madison's Isthmus Jazz Festival and Art Fair on the Square. The band's club dates include regular appearances throughout the state, including numerous venues in Madison and Milwaukee. Numerous art museums have used Janet for openings and special events. Janet is a 2001 WAMI nominee for best female vocalist. (Wisconsin Area Music Industry)

The Janet Macklin Quartet consists of Janet on guitar and vocals, and various combinations of the finest jazz drummers, saxophonists, and upright bass players in Wisconsin and places beyond. Piano is the newest introduction to the group, forming a truly fine jazz quintet. The band explores the jazz music of the 1920s, 30s, 40s, and 50s, and features works of the following artists, composers and lyricists: Billie Holiday, Ella Fitzgerald, Les Paul and Mary Ford, Nat King Cole, Oscar Peterson, Antonio Carlos Jobim, Thelonious Monk, Sonny Rollins, Django Reinhart, the Gershwins, Harold Arlen and E.Y. Harburg, Fats Waller, Cole Porter, Dorothy Fields & Jimmy McHugh, Hoagy Carmichael, Johnny Mercer, Benny Goodman and Chick Webb, Dizzy Gillespie, Duke Ellington, and Gus Kahn. The group regularly performs a number of original compositions as well. Janet still performs as a solo artist, as well as working with a duo, trio, quartet, and quintet.

Floating On The Silence

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Dontae Winslow - Ballads

Bitrate: 320K/s
Time: 53:24
Size: 122.2 MB
Styles: Trumpet jazz
Year: 2006
Art: Front

[ 1:12] 1. Amazing Grace
[ 5:16] 2. In A Sentimental Mood
[ 3:20] 3. Elaine
[ 8:43] 4. Death Of A Young Man Blackman
[ 5:00] 5. Blue Moon
[ 4:49] 6. Fall
[ 5:17] 7. When I Fall In Love
[ 7:12] 8. Body And Soul
[10:25] 9. Divine Order
[ 2:07] 10. Somwhere Over The Rainbow

Dontae Winslow is one of music's "rising stars" and educators. He grew up in the tough neighborhood of Coppin Heights, on West North Avenue, in Baltimore, Maryland. He was trained in music at the formidable Baltimore School for the Arts high school. While there Dontae starred in 2 regional commercials, and one public service announcement for AIDS awareness. In three years, he attained a Bachelor's of Arts degree in Classical Music Performance from the Peabody Conservatory of the John's Hopkins University. From that esteemed institution, he also received his Master's degree in European Classical Music Performance two years later.

As a full-time college student Dontae toured the world with the Gary Thomas Quintet. The group Overkill utilized Dontae's contributions as a rap artist, writer, and trumpeter. He has performed throughout North America and Europe (Spain, Italy, Germany, France, etc.). Dontae has toured with multi-platinum R&B artist D'Angelo, and gospel phenomenon Natalie Wilson and the S.O.P. Chorale. He has performed at the Montreaux Jazz Festival (1995), the Montreal Jazz Festival (1997), the Brecon Jazz Festival (1998), and the Marciac Jazz Festival (1998). In 1997 Dontae was a semi-finalist in the Thelonious Monk International Trumpet Competition and a finalist in the Marvin Hamlisch "Search for a Star" competition. Opening for such masters as Maya Angelou, Ashford and Simpson, and Wayne Shorter has elevated Dontae to the forefront of young innovators in music. He has performed with master Clark Terry, Roy Hargrove, The Roots, Wynton Marsalis, Milt Jackson, Maysa of Incognito, Freddie Hubbard, Stevie Wonder, Larry Willis, and the Baltimore Symphony Orchestra. Dontae has performed as a lead trumpeter in such broadway musicals as "Dinah Was" and "Ain't Misbehavin'". He programmed MPC drums on the new Roy Hargrove release "RH Factor", and produced,mixed, recorded, and arranged the music from "The Real Thing", new soul CD, by MaShica Winslow. He has released over 8 hip-hop and jazz titles on his own independent label, Ransom Entertainment.

Having a strong devotion to helping children led to Dontae's latest recording entitled "Change a Life...Change the World". The CD features his students from the Gilmor-Edison Elementary Choir, and his wife, MaShica Winslow on vocals. The CD is offered free to kids so that they will be inspired to attend college. In 2002, Dontae Winslow was the Grand Prize winner of the John Lennon Songwriting contest in the Children's Music category. Dontae's song entitled "I Love School" was selected out of 24,000 entries. His winnings from the contest include an EMI music publishing contract and $5,000 in Yamaha Studio Equipment. Dontae believes that, despite your circumstances, with God and a good education you can achieve your dreams.

Ballads

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Patricia Vonne - Firebird

Released: 2007
Size: 88,9 MB
Time: 38:14
File: MP3 @ 320K/s
Styles: Folk-Rock, Latin
Art: Full

01. Missing Women [2:57]
02. Hot Rod Heart [3:14]
03. Battle Scars [4:36]
04. Torera [4:06]
05. Jett Rink [3:05]
06. The Dogs Dance  [3:47]
07. La Huerta De San Vicente [4:00]
08. Dutch Cigarette  [2:52]
09. Karolina  [3:38]
10. Will We Ever Be [2:57]
11. Mujeres Desaparecidas (Bonus Track) [2:56]

Latin Roots Rocker and Troubadour Patricia Vonne releases "Firebird"
Patricia Vonne's remarkable third release "Firebird" is the payoff for seven years of hard work and cements the bilingual songstress's ability to deliver a perfect balance of Tex-Mex and roots-rock with strength, purpose and femininity. Vonne's excellent songwriting has a flare for romance, drama and fantasy, even while chronicling the ups and downs of everyday life.
"Firebird" opens with the haunting "Missing Women" a tribute to the hundreds of women murdered in Juarez, Mexico. Vonne made several trips to Juarez doing research for the song and shooting a video. She had the opportunity to meet many of the mothers of the victims' and has become very close to the project and in hopes of bringing more awareness to the campaign she has donated the song as a free download on the Amnesty International's website.The CD features a Spanish version of the same song, "Mujeres Desaparecidas" as a bonus track.Vonne's long time musical partner, Robert LaRoche former Virgin Recording artist 'The Sighs' , co-wrote five of the ten tunes and his stellar guitar work is the perfect accompaniment for Vonne's sultry vocals. They duet on the beautiful "Battle Scars".On "Firebird" Vonne works with an all star cast of musicians including Rick Del Castillo, Michael Hardwick, Steven Medina Hufsteter, Tito Larriva, David Perales, Michael Ramos, Joe Reyes, Scott Garber, Dony Wynn, Elizabeth Rodriguez, and Carl Thiel.Every song on "Firebird" carries a great personal story from Vonne. She co-wrote with her childhood musical hero, Johnny Reno on "Hot Rod Heart," and was so inspired by visiting the home of late Spanish poet, Federico Garcia Lorca in Granada, Spain that she wrote "La Huerta de San Vincente" about the experience. "Dutch Cigarette" chronicles the non-stop travel from 13 European tours that has elevated Vonne to playing huge festivals overseas, while the sweet "Karolina" is a tribute to the children in hospitals in NYC that Vonne would visit and sing to while a "musician on call"."Firebird" is a follow up to 2004's "Guitars and Castanets" and Vonne's self titled debut in 2002 and is a her best work yet and a fine addition to her ever growing musical legacy.

Firebird

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Rebecca Zapen & Gary Starling Group - Zapstar

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 64:29
Size: 149,2 MB
Art: Front

(4:32)  1. On the Street Where You Live
(5:43)  2. Like Someone in Love
(6:21)  3. It Might as Well Be Spring
(6:57)  4. How Deep Is the Ocean
(4:31)  5. It Ain't Necessarily So
(6:54)  6. Things We Said Today
(7:01)  7. Nuages
(3:50)  8. Bernie's Tune
(5:48)  9. I Only Have Eyes for You
(5:17) 10. When You Wish Upon a Star
(7:30) 11. I Thought About You

Rebecca Zapen is a violinist/vocalist whose singing is reminiscent of Astrud Gilberto and Chet Baker, and whose violin playing draws upon the traditions of jazz violin greats Stephane Grappelli and Regina Carter. She is a magna cum laude and Phi Beta Kappa graduate of the School of Music of Florida State University, and also holds a degree in biology. She has performed throughout the United States, and in destinations abroad including the UK, France, and Switzerland, gracing concert stages, intimate jazz clubs, and big band dance halls. She has released several albums: ZAPSTAR and HUMMINGBIRD, which are comprised of bossa novas, ballads, standards, and Rebecca’s original compositions (in Hummingbird), and JAPANESE BATHHOUSE, featuring all original songs by Ms. Zapen and showcasing her diversity as a multi-instrumentalist and songwriter. To learn more about Rebecca, visit her online at www.zapen.com.

Gary Starling: Synonymous with jazz on the First Coast, Artist in Residence and professor of guitar at Jacksonville University, Gary Starling has inspired and broadened the horizons of hundreds of aspiring musicians and has played with performers such as Bob Hope, Diahann Carroll, Rita Moreno and Skitch Henderson. The Gary Starling Group has made multiple appearances at the Jacksonville Jazz Festival. Gary has appeared with the Jacksonville Symphony Pops Orchestra and with jazz artists Eddie Harris, Nat Adderley, Joshua Breakstone, Carla White, Jim Snidero, Ben Tucker, and more. To learn more about Gary, visit him online at www.garystarling.com.

Chelsea Chason (bass) is a graduate of the jazz studies program at University of North Florida. She has studied under Blue Note recording artists Kevin Bales and Ricky Ravelo. She has appeared with Benny Green, Marcus Printup, Cyrus Chestnut, The Heath Brothers, and Doug Wamble. She has performed with the Gary Starling Group since 1999. Chelsea is also the founder of the Awkward Pause Ensemble and a mainstay of the North Florida local music scene. Peter Miles is an exceptional performer whose sought-after versatility keeps him busy all over the world. His current touring finds him with the Doug Wamble Quartet on the Marsalis Music label. Peter plays Sabian cymbals exclusively.  http://www.cdbaby.com/cd/rzgsg

Personnel:  Rebecca Zapen - violin and vocals;  Gary Starling – guitar;  Chelsea Chason - double bass;  Peter Miles - drums

Zapstar

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Solitaire Miles - Solitaire Miles

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 47:05
Size: 108,5 MB
Art: Front

(4:36)  1. Comes Love
(3:19)  2. Autumn Leaves
(2:24)  3. I Want a Little Sugar in My Bowl
(4:02)  4. I Wished on the Moon
(5:01)  5. Lush Life
(4:18)  6. I Don't Know Enough About You
(5:35)  7. Blowtop Blues
(2:56)  8. Softly as in a Morning Sunrise
(5:52)  9. You Go to My Head
(5:03) 10. You Let Me Down
(3:52) 11. A Kiss to Build a Dream On

Chicago jazz vocalist Solitaire Miles captivates the seasoned jazz veteran with mesmeric tone, conversational phrasing, and a sinuous sense of swing. Her unaffected delivery never draws attention to itself, allowing the lyrics to shine through. She presents each song in a sincere manner, intimating a supple delivery so the patois of each arrangement has a lasting effect on the listener. Her timing and style impressed Chautauqua Symphony Bassist Harry Jacobson enough to label her as "Billie Holiday with sunshine and air".

Her debut album includes some of Chicago's best performers, arranged by the great jazz violinst Johnny Frigo and incomparable pianist Willie Pickens, the recording reflects the laid back, forthright swing that is signature of the Chicago sound. Also featured is Chicago Sax Maestro Von Freeman, who keeps the music genuine and sassy. There is also a cameo from trumpeter Brad Goode and three live tracks recorded in New York with pianist Don Rebic.  http://www.cdbaby.com/cd/solitairemiles

Personnel: Solitaire Miles vocals ; Johnny Frigo violin; Von Freeman sax;  Willie Pickens piano;  Brad Goode trumpet ; Don Rebic piano;  Bruce Johnstone sax/clarinet ; John Whitfield bass;  Mike Raynor drums

Solitaire Miles

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Sally Night - Ballads For You

Size: 166,8 MB
Time: 71:26
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. More Than You Know (3:55)
02. It Amazes Me (4:50)
03. Everything I've Got Belongs To You (4:59)
04. In Love In Vain (4:02)
05. Fascinating Star (4:31)
06. Everything Happens To Me (4:47)
07. Good Morning Heartache (5:05)
08. I Hadn't Anyone Till You (4:12)
09. London By Night Is A Wonderful Sight (5:17)
10. Close To You-The Shadow Of Your Smile-It's Impossible (7:23)
11. Prelude To A Kiss (4:50)
12. Round Midnight (5:54)
13. Blame It On My Youth (3:22)
14. Speak Low (4:10)
15. Yes I Do (4:03)

Sally Night-Vocals , Jon Davis-Piano, Dezron Douglas-Double Bass, Steve Williams-Drums

”Sally Night is a great new Singer, Songwriter & Performer with a beautiful full voice”- Billboard Live Club, Tokyo, Japan

Since her recent arrival in New York & USA Sally Night has recorded 2 new albums for Venus Records, made an opening performance at the 1st Miami- Nice Jazz Festival in Miami, Florida, made several appearances at Birdland Jazz Club NYC, performed in Tokyo at the Billboard Live Club for AXN TV and has been invited to sing as a guest singer with Jazz legends Cedar Walton, Buster Williams, Bucky Pizzarelli & performed and recorded with a polithera of other Internationally acclaimed musicians.

“Sally Night is a Sassy swing vocalist with excellent technique and a powerful voice” - TIME OUT, London

“An effervescent live performer with echoes of Ella and Sarah, innately gifted vocalist Sally Night swings like a true diva”- JAZZ CLUB SOHO, Pizza Express, London

“Ms. Night is that rare new singer who backs up the chutzpah, talent and confidence needed to succeed in the jazz scene in New York & America. It didn’t take me long to start programming Ms. Night’s music on Real Jazz, Sirius XM and I think the jazz scene is better for it. Believe me there aren’t enough good singers around” -MARK RUFFIN, Real Jazz, SIRIUS XM, North America & Canada

Ballads For You

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Zizi Possi - Tudo Se Transformou

Size: 88,3 MB
Time: 37:50
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Jazz, MPB, Brazilion Traditions
Art: Front

01. Filho De Santa Maria (2:54)
02. Disparada (3:58)
03. Contrato De Separaçao (3:09)
04. Explode Coraçao (3:03)
05. Tudo Se Transformou (2:52)
06. Morena Dos Olhos D'agua (3:11)
07. Cacos De Amor (3:28)
08. Meu Mundo E Nada Mais (3:26)
09. No Vento (3:15)
10. Porta Estandarte (4:57)
11. Sem Voce (3:32)

Zizi Possi opened different paths during her career. She had her first hit with an MPB tune ("Pedaço de Mim" by Chico Buarque) and then with a series of pop ballads during the '80s; but finally in the '90s, she found her way with a repertory of classics of Brazilian music in highly polished acoustic renditions. There are variations apply, as in Per Amore, which is completely devoted to Italian romantic songs (sung in the original idiom).

Singing alone since she was a child, Possi started to take piano classes at five. At 20, she abandoned the strong composition program at the State University of Bahia and started working as an actress in a musical when she discovered herself as a singer. In 1978, she left for Rio, where she was invited by Roberto Menescal to record (at the time he was Polygram's A&R) her first album (Flor do Mal). Possi' first hit was the title track of the second album, Pedaço de Mim (Chico Buarque), from Buarque's musical A Ópera do Malandro, in which she participated that same year. In the '80s, Possi expanded her pop repertory at the expenses of MPB, having success with "Asa Morena" (Zé Caradípia, 1982). Other hits of that decade were "Perigo" (Nico Resende/Paulinho Lima, 1986), "A Paz" (Gilberto Gil/João Donato, 1987); "É A Vida Que Diz" (Marina), and "O Amor Vem Pra Cada Um" (a version for "Love Comes to Everyone" by George Harrison). The LP Estrebucha Baby (1989) represented a different, almost experimental phase, being the first time that "Meu Erro" (Herbert Vianna) was recorded not as rock or pop (as it was written), but as a densely interpreted song, which worked as an endorsement for a genre that was being incorporated into MPB under mixed feelings.

In 1990, the show Sobre Todas As Coisas (piano/voice/percussion) represented the finding of an internal coherence after taking different paths. Rewarded by the success enjoyed during the tour, she accepted Marcos Suzano's suggestion of incorporating Lui Coimbra's cello, recording the album Sobre Todas As Coisas (1991). The esthetics of an acoustic sound and the classics of Brazilian music were paid even further tribute on Valsa Brasileira (1993) and on her subsequent albums. Valsa Brasileira had two hits, "Bom Dia" (Swami Jr./ Paulo Freire) and "Lamento" (Pixinguinha).

Tudo Se Transformou

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Spike Wilner - Portraits

Bitrate: 320K/s
Time: 65:54
Size: 150.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:03] 1. Wonderful! Wonderful!
[8:01] 2. For The Girl
[6:30] 3. Forever Young
[8:26] 4. Three To Go
[4:33] 5. A Tale Thrice Told
[6:13] 6. In The Still Of The Night
[7:39] 7. The Dennis Jeter (Bug) Waltz
[4:19] 8. Everything I Have Is Yours
[6:07] 9. A Stitch In Time
[7:57] 10. Slow Blues

Michael “Spike” Wilner was born in New York City and started playing piano at an early age. He was inspired by a television program about the life of Scott Joplin to learn to play Ragtime Music. He perused this art form throughout high school and performed Joplin’s “Maple Leaf Rag” at the St. Louis Ragtime Festival. Although it was an informal appearance it, nonetheless, profoundly affected him and drove him to peruse a career in music. In his high school jazz program he met pianist Peter Martin who introduced him and inspired him to learn more modern jazz.

Wilner decided to enter into the New School For Social Research’s Jazz and Contemporary Music department, which was then in it’s first year. Headed by the late saxophonist Arnie Lawrence, this was an experimental forum where young jazz musicians were introduced to masters and left on their own to interact and play together. In this fertile musical environment Wilner met and became friends with many of today’s leading jazz musicians. Students at that time included: Peter Bernstein, Jesse Davis, Larry Goldings, Brad Mehldau, Roy Hargrove, Sam Yahel, Joe Strasser and many others. It was there that Wilner had the good fortune to become the student of the late pianist Walter Davis Jr. as well as the late great Jaki Byard. At this same time Wilner became involved at the Jazz Cultural Theater under the direction a Barry Harris and spent several years studying there.

It was also at this time that Wilner began to work professionally on the New York City jazz scene. He began to play gigs in the various clubs and throughout the years has held down many steady engagements in well-known clubs. Wilner was a house pianist at the legendary, now defunct, Village Gate as well as other long-gone clubs such as Visiones, The Angry Squire and The Village Corner. In 1995, Wilner became involved with the jazz club Smalls under the direction of owner Mitch Borden. At Smalls, Wilner has developed his music and his career.

Portraits

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Alexis Cole - I Carry Your Heart: Alexis Cole Sings Pepper Adams

Bitrate: 320K/s

Time: 60:28

Size: 138.4 MB

Styles: Vocal jazz

Year: 2012

Art: Front

[ 7:47] 1. In Love With Night

[ 3:38] 2. I Carry Your Heart

[ 5:52] 3. Now In Our Lives

[ 7:53] 4. Urban Dreams

[10:54] 5. Julian

[ 7:41] 6. Civilization And Its Discontents

[ 8:07] 7. Lovers Of That Time

[ 8:32] 8. I Carry Your Heart (Reprise) [duo Vers]

I Carry Your Heart; Alexis Cole Sings Pepper Adams is a stunning piece of work. The lyrics, pure poetry; the music, cerebral and swinging. This creation is even more amazing when seen as part of a five-volume production covering all of baritone sax legend Pepper Adams' work. Producer Gary Carner got the idea for a digital box set, Joy Road: The Complete Works of Pepper Adams (Volumes 1-5), to be put out on Motéma Music. Subsequent to Cole's vocal CD was Joy Road Sampler (Motéma, 2012), which contains highlights from all four volumes. All discs will be available at a later date.

Carner became interested in the project in the mid-eighties. "Now," he says, "after 28 years of research, it has become a crusade...to maintain the historical record of his [Pepper's] life and work" Also a meticulously researched Pepper Adams' Joy Road: An Annotated Discography (2012), has been published by Scarecrow Press.

Adams' compositions are sung by the highly rated Cole. The New York-based vocalist was recommended by saxophonist Eric Alexander, who had recorded with her on a Fred Hersch album. For this first ever pairing of his music with words, Carner got poet/lyricist Barry Wallenstein, his friend and mentor at City College of New York (CCNY). Rearranging Adams' seven ballads to various speeds and styles, and pairing them with Wallenstein's richly literary lyrics, was the task. Cole comes up a winner here with her straightforward interpretations, honoring the integrity of the poetry and always swinging. The band also deserves special mention, especially the two tenor sax performers, Alexander and Pat La Barbera. Whether soloing or blending their sound, they excel in mostly long takes.

I Carry Your Heart: Alexis Cole Sings Pepper Adams

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Taylor Eigsti - Lucky To Be Me

Bitrate: 320K/s
Time: 58:47
Size: 134.6 MB
Styles: Piano jazz
Year: 2006
Art: Front

[5:11] 1. Giant Steps
[5:07] 2. Get Your Hopes Up
[3:11] 3. Love For Sale
[5:28] 4. I've Seen It All
[4:29] 5. Argument
[4:29] 6. True Colors
[5:34] 7. Woke Up This Morning
[5:32] 8. Promenade
[6:52] 9. Adventure One
[4:49] 10. Darn That Dream
[4:52] 11. Freedom Jazz Dance
[3:07] 12. Lucky To Be Me

It must indeed be a lucky thing to be Taylor Eigsti, a 21-year-old pianist who has already been performing for over a decade. After a handful of independent discs comes his Concord debut, Lucky to Be Me, a collection of originals, standards and unexpected interpretations featuring bassist Christian McBride, drummer Lewis Nash and guitarist Julian Lage.

From the very top, his reharmonized arrangement of John Coltrane's "Giant Steps" bears all the indications of a mature talent with an adventurous spirit. The cohesiveness of the assembled musicians is instantly apparent as they blow through the "new" changes with frenetic grace. Eigsti also contributes three originals. "Get Your Hopes Up" is a breezy up-tempo tune with a strong Latin inflection and an alternating two chord major/minor vamp that allows the pianist to stretch out. "Argument" is aptly titled and fitfully executed with bassist James Genus and drummer Billy Kilson. Although the hyperactive syncopation and licks-per-minute rate is fairly high, the Fender Rhodes solo offers a nice contrast to the otherwise difficult ensemble workout. The lightness of his touch certainly counterbalances the gravity of his phrasing throughout the disc, and his third composition, "Adventure One," takes his technical abilities to expressive heights. McBride's bass solo is a highlight.

Both rhythm sections on this album sound relaxed and comfortable, and the addition of guitarist Julian Lage offers a pleasing extension of Eigsti's natural affinity for strong melody. The choice of material and tight arrangements make me look forward to future releases by this young talent. Although not an earth-shattering opus, Lucky to Be Me is nonetheless a worthy endeavor that should attract listeners who are curious about a new voice in jazz with something original to say. We'll keep listening. ~Ken Kase

Taylor Eigsti: piano; Christian McBride, James Genus: bass; Lewis Nash, Billy Kilson: drums; Julian Lage: guitar; Greg Adams: trumpet; Eric Marienthal: alto saxophone; Adam Schroeder: baritone sax; Garrett Smith: trombone; Brian Swartz: trumpet; Ben Wendel: tenor sax.

Lucky To Be Me

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Cannonball Adderley Sextet - Jazz Workshop Revisited

Recorded: 1962
Released: 1963,1986,1992
Reissue: 2001 (Remastered)
Size: 128,4 MB
Time: 55:38
File: MP3 @ 320K/s
Styles: Hard Bop,Soul Jazz,Saxophone
Art: Front,Back,Tray

01. An Opening Comment By Cannonball... [ 0:51]
02. Primitivo [ 9:13]
03. Jessica's Day [ 6:30]
04. Marney [ 6:52]
05. A Few Words... [ 0:13]
06. Unit Seven [ 9:06]
07. Another Few Words... [ 0:26]
08. The Jive Samba [11:02]
09. Lillie [ 4:43]
10. Mellow Bruno [ 6:00]
11. Time To Go Now - Really! [ 0:36]

Adderley's burning 1959 live recording "In San Francisco" was something of a hit for the altoist and his quintet. Fully aware of the high standards they'd set, Cannon and producer Orrin Keepnews decided to return to the Jazz Workshop three years later for another hard-swinging affair. By then, Adderley's band had been fleshed out to a sextet distinguished by the presence of a second wind player in Yusef Lateef. Joe Zawinul had settled into the piano chair a year earlier, while Adderley's cornetist brother Nat and the rhythm team of Sam Jones and Louis Hayes were all holdovers from the previous S.F. record. The exotic, ominous one-chord vamp "Primitivo" makes effective use of Lateef's evocative flute and oboe touches. Another highlight is Nat's 11-minute "Jive Samba," a bossa-nova-based groove that actually found its way onto jukeboxes in severely abridged form. Here Lateef's flute proves to be a dynamic addition to the solo procession.(~~Marc Greilsamer)

In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight reissue of an earlier LP) therefore contains music much closer to the altoist's freewheeling Riverside period than to his R&Bish Capitol dates. Adderley's greatest band -- his sextet with cornetist Nat Adderley, Yusef Lateef (on tenor, flute and oboe), pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes -- is featured on such exciting numbers as "Jessica's Day," Jones' "Unit 7," and "The Jive Samba." A special treat of this live date is hearing the leader's introductory words to several of the songs.(~~Scott Yanow)

Here we are again with Cannonball and associates in The Jazz Workshop . . and it sounds like a very good place to be. Which is exactly the way it sounded while this warm and happy album was being recorded before a warm and happy, no-empty-seats audience.A great many thousands of listeners must feel very much at home in this setting even though most of them may never even have set foot in the city of San Francisco. For the Workshop, one of the best-known and most relaxed of the nation's jazz nightspots, was of course also the scene of the Adderley's group's very first LP: the remarkable, phenomenally best-selling "Cannonball Adderley Quintet in San Francisco," which helped catapult this band to the top and has become something of a landmark among on-the-job jazz records.The idea of again capturing the band in action in this room is one that, naturally enough, all concerned have had in mind for quite some time. It wasn't just a matter of wanting to return to the scene of the band's initial triumph - although the club will always have a special sentimental value, something like a good-luck charm, for Cannonball and for Riverside. It was also a matter of a long-standing awareness that this is a band that responds magnificently to the stimulus of the right crowd. And, with no offense intended to any other place or people, it has been my experience that audiences in San Francisco in general and at The Jazz Workshop in particular are just about the rightest crowds possible!The group has of course been back several times since that momentous first engagement in 1959. But it wasn't until roughly the third anniversary of that occasion that all the circumstance fell into place to bring about the present album. And although this is not and could not be intended as a 'duplication" of the earlier LP, there are some rather remarkable similarities to be noted. For one thing, no less than four members of the original quintet are still very much on hand: the Adderley brothers themselves, and the unbeatable rhythm team of Sam Jones and Lou Hayes. (In jazz today, such band longevity is in itself something special.) The only changes are that Joe Zawinul, from Austria, has for some time been on piano, and that the group has been augmented to sextet size by the addition of the deep-toned tenor sax and vivid flute of Yusef Lateef.For another thing, there is the inclusion of what seems clearly destined to be another of those rare, all-pervading tunes. The first album had, (do we need to remind anyone?) Bobby Timmons' memorable This Here. Other LPs have introduced other stand-outs (several of which have been assembled on "Cannonball's Greatest Hits"). Now we have Nat Adderley's richly low-down Jive Samba. There was no difficulty in spotting this one: the first time I heard it, and heard the reaction it provoked (such as you can hear on the record), it was obvious that this tune had what it takes. Which was no more than what the band had been telling me since I arrived in town. And even before the release of this album, a short 45-rpm single version of The Jive Samba (extracted from this recording) had sky-rocketed into nation-wide "hit" status.
The very mean Samba is scarcely alone here. There is Cannon's thoroughly unique and gripping "Primitivo"; Lateef's swinging, Ellington. tinged "Mellow Bruno"; and Sam Jones' very pretty ballad, "Lillie" - a total of four quite varied examples of the composing talents of this group. Plus a wonderfully buoyant treatment of a Quincy Jones tune, and an intriguing, adventurous new number contributed by Donald Byrd. Small wonder that, after a night of music like this, the audience gave Cannonball a hard time about leaving the stand.Fortunately, however, there is no curfew hour for recorded club dates. All you have to do is to start listening all over again, from the top.(~~Orrin Keepnews)

Line-Up:
Julian 'Cannonball' Adderley - Alto Saxophone
Nat Adderley - Cornet
Yusef Lateef - Tenor Saxophone, Flute and Oboe
Joe Zawinul - Piano
Sam Jones - Double Bass
Louis Hayes - Drums

Recorded "live" at The Jazz Workshop , San Francisco, September 22 & 23 , 1962

Jazz Workshop Revisited    Mega


Jazz Workshop Revisited Zippyshare

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Cassandre McKinley - Right In Front Of You

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 34:01
Size: 78,3 MB
Art: Front

(2:54)  1. Anyone But You
(4:47)  2. A Beautiful Friendship
(2:49)  3. Never To Return
(3:28)  4. Our Journey (Lexi's Song)
(4:43)  5. Watch Yourself Go By
(3:26)  6. Cravin' Spring
(3:40)  7. It's Alright With Me
(4:30)  8. Right In Front Of You
(3:43)  9. Hit Me With A Hot Note And Wat

Cassandre McKinley has never been compared to another famous singer “before her time”. Instead, McKinley has enriched her musical surroundings with something honest and refreshing. Her approach to jazz is organic, instinctual and from the heart  most simply describe her as “authentic”. Drawing from a diverse group of influences, McKinley has developed a sound and style that is so unique, there’s no comparisons. Her voice is a blend that is true “soul” at it’s core a sound that is pure, yet sophisticated and distinctive. Many will tell you that McKinley gives every ounce of herself to the music and the strength in her vocal performance, while dynamic and clear, leaves one wondering where this seemingly endless reserve of vocal power and prowess comes from.

McKinley grew up 20 minutes outside of Boston. She trained as a singer, dancer and actress at a very young age, but was never extreme in her focus for one or the other. The dance company she studied and performed with kept her well rounded and allowed her frequent trips to Boston and NYC where she could fulfill her passion for the arts. She began working with a vocal coach; Beatrice was a European opera singer who had retired professionally and was teaching students at The Boston Conservatory of Music. McKinley went on to attend the college and formed a special bond with the teacher. After college, McKinley rooted herself in the city where she spent time cultivating her music skills. She frequented musical venues  listening and absorbing. Occasionally, she would have the opportunity to sit in and sing which lead to a few guest appearances in larger venues (The House of Blues, Ryles Jazz Club). It had become clear to those that had worked with McKinley, to her growing number of local fans, and McKinley herself that Jazz was not only something she had a special knack for  she felt more passion for it than any other style of music.  Her first legitimate jazz gig McKinley took a leap of faith and asked some of Boston’s most well known players to accompany her on the gig. They obliged. From that point on, she would continue building musical relationships that would strenthen her artistically. Dick Johnson (Artie Shaw Orchestra), Herb Pomeroy, Al Vega and a list of local legends world class performers all spent time with McKinley with a willingness to advise and educate the young singer. “Friendships like these are a gift those gentlemen shared thier philosophies with me  they each taught me to trust my instincts”. McKinley admits that the jazz form and the art of “improvisation” appeals to her. “I love the freedom that comes with singing jazz although there is still a form to the music, it can move and bend it all depends on what’s inside the soul and how you happen to apply it”.

When asked who her influences are, she answers with a surprising mix. “Dinah Washington, Anita O’Day, Miles Davis, Sam Cooke, Marvin Gaye, Cat Stevens, Ray Charles, Stevie Wonder, Nancy Wilson  even Elvis. Drawing from this diverse group, McKinley has developed a sound and style that is unique to her like leaves on a tree. Her soulful blend is simple, yet sophisticated true and distinctive. Cassandre has just released her debut album under the MAXJAZZ label titled TIL TOMORROW – REMEMBERING MARVIN GAYE. In this body of work, McKinley delivers her interpretation of selected music Gaye wrote, co-wrote and performed throughout his career. From inception to execution, McKinley’s sensitivity to Gaye’s message and her rich, warm sound combine to pull this project far, far away from the ordinary. Creating a genre that just fits between Jazz, Smooth Jazz and R & B, “Til Tomorrow” is a rich exploration into Nu-Jazz and Soul focusing on the “soul”. 

“Making this album was like reading over old pages from my journals  it was a beautiful opportunity to see where it is I’ve been and then, take a moment to anticipate what may be ahead.”  http://www.cassandremckinley.com/about/

Right In Front Of You

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Nikki Loney - Falling in Love

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 61:23
Size: 142,1 MB
Art: Front

(4:59)  1. At Last
(4:12)  2. Will You Still Love Me Tomorrow?
(4:09)  3. Summer Wind
(3:12)  4. I Only Have Eyes for You
(3:49)  5. Since I Fell for You
(4:11)  6. Makin' Whoopee
(5:03)  7. Smoke Gets in Your Eyes
(4:29)  8. These Arms of Mine
(4:36)  9. Somewhere over the Rainbow
(5:00) 10. Lover Man
(4:59) 11. Summertime
(4:18) 12. Crazy
(4:32) 13. Black Coffee
(3:48) 14. In the Wee Small Hours of the Morning

Nikki Loney is a professional vocalist and Registered Music Teacher from Hamilton, Ontario Canada. She is an honours graduate of the Humber College Music Program. She works with professional and amateur vocalists ages 6 to 63, preparing them for examinations, post secondary auditions, competitions and professional singing endeavours. Nikki has over twenty years of recording studio experience and her vocals have been featured on television and radio jingles, and commercial recording releases.  http://thefullvoice.com/fvauthors.html

Falling in Love

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Kathleen Grace - Sunrise

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 46:48
Size: 107,4 MB
Art: Front

(4:47)  1. Blackbird
(3:56)  2. I've Got the World on a String
(3:20)  3. The Summer Knows
(3:43)  4. The Lady is a Tramp
(4:06)  5. Cool
(5:32)  6. Softly as in a Morning Sunrise
(3:04)  7. But Not for Me
(3:59)  8. Beautiful Love
(4:39)  9. Emily
(3:30) 10. Armageddon
(6:07) 11. Small Day Tomorrow

Kathleen Grace hails from Tucson, Ariz., and wails in Los Angeles. She boasts a three-octave voice, and her self-released debut album deserves a wider audience so major labels, step up. Her range of feelings embraces straightahead, theater, cabaret and smoky, intimate, small hours vocalizing. Mood swings and tricky modulations are effortless thanks to the disciplined backing by pianist Tamir Hendelman, bassist Darek Oles and drummer Jamey Tate. Grace oozes self-confidence and has the sort of intonation that allows her to introduce two tunes a cappella: “But Not for Me,” propelled by brushes (she gamely sings in unison with piano during brief exchanges with drums), plus her solo introduction of Johnny Mandel’s gorgeous “Emily.” She effortlessly juggles 5/4 and 4/4 in “I’ve Got the World on a String” and exhibits her personal scat on Wayne Shorter’s “Armageddon.” A passionate highlight for piano and voice is “Softly, As in a Morning Sunrise,” a great study in dynamic shadings, all evolving from a sensuous tango figure. ~ Harvey Siders   http://jazztimes.com/articles/17132-sunrise-kathleen-grace

Sunrise

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The Pasadena Roof Orchestra - Licensed to Swing

Styles: Big Band
Year: 2011
File: MP3@320K/s
Time: 50:27
Size: 119,5 MB
Art: Front + Back

(3:41)  1. You´re the top
(3:12)  2. At the Jazz Band Ball
(3:16)  3. Bel Ami
(3:10)  4. No strings
(2:59)  5. Futuristic rhythm
(2:54)  6. Polka dot rag
(3:26)  7. About a quater to nine
(2:25)  8. I heard
(3:22)  9. Without a certain thing
(2:36) 10. Am Sonntag will meine Süsse mit mir segeln gehn
(3:02) 11. Jungle nights in Harlem
(2:56) 12. Happy feet
(3:20) 13. Singing in the rain
(3:34) 14. A cheerful little earful
(3:13) 15. Where the blue of the nicht (meets the gold of the day)
(3:11) 16. Yes! We have no bananas

It´s the Year 1969. A man makes the first step on the moon. The BEATLES play their last concert. The first Woodstock happens ….

… and The Pasadena Roof Orchestra gets its licence to swing when over 1000 original dance band arrangements are discovered in an attic by founder-member, John Arthy. But you know that story, don´t you? And the rest - as they say – is history!
More than 40 years on from that incredible find, the orchestra´s reportoire has been shaken again – not stirred! The best 1920´s and 30´s tunes are the simple ingredients fort hat cocktail. So, sit back and take a sip of the orchestra´s new programme LICENCE TO SWING .

For over forty years the Pasadena Roof Orchestra, based in the UK, has delighted audiences all over the world with its mix of swing and hot dance music. Swing is much more than a musical genre, it personifies a lust for life, with its infectious beat. Its roots lie in the pre war dance bands, and the roaring twenties which inspired the later big swing bands. In contrast to many other musical genres swing has never really gone out of fashion over the decades, particularly in recent years. The Pasadena Roof Orchestra has played an important role in this resurgence of popularity.
In the past, the orchestra’s kind of music provided a boost in the background to some calamitous times, pre and post war. Today, not only is the orchestra bringing its music to young audiences all over the world, it is introducing new generations of young musicians to the music. 

The reputation of the orchestra is as legendary in its own right, as the bands from the 1920’s and 1930’s that inspired it. 40 recorded vinyl LPs, singles, CDs, and DVDs containing over 300 titles have been released since 1974. The timeless sound of the orchestra has led to ever more recordings. In Japan the orchestra's first five vinyl albums have recently been rereleased in a CD format. When it comes to authentic swing music the orchestra has no equal. The orchestra performs year-round with a line up of eleven excellent jazz musicians who have perfected their craft and studied jazz at the top conservatories. Many years of working together with top class arrangements, result in the ensemble sound for which the orchestra is renowned. The show is presented in a way that not only showcases this talent, but adds some wit and humour. Duncan Galloway is the band-leader and vocalist and is also responsible for the musical direction. With a background in theatre and music, Duncan has been part of the orchestra for over ten years. The repertoire currently comprises over 200 titles of jazz, early swing and dance music from the era. The orchestra was founded in 1969 by the master baker John Arthy... 

http://www.painteddogrecords.com/pasadenarooforchestra.html

Licensed to Swing

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