Jim Samuel - Now

Size: 75,0 MB
Time: 32:14
File: MP3 @ 320K/s
Released: 2014
Styles: Smooth Jazz
Art: Front

01. Mr. Magic (Feat. Gerald Albright) (4:35)
02. Binney Street (3:38)
03. Serena (Feat. Rob Tardik) (4:24)
04. Off The Tracks (Feat. Gerald Albright) (2:39)
05. Come What May (Feat. Tony Neenan) (3:51)
06. Don't Know Why (4:47)
07. Now (4:14)
08. Now That You're Gone (Feat. Tony Neenan) (4:03)

Outstanding originals, cool covers and intoxicating melodies make now the time to discover this unique brand of Smooth Jazz.

With something for every Smooth Jazz fan, new offers jazz that is more funk and dance than smooth. An album full of melodies that will stay with you long after the music stops thanks to outstanding performances from guest artists Gerald Albright, Rob Tardik and Tony Neenan, NOW is the time to jump on the Jim Samuel bandwagon. You are in for a fun ride!

Now

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Sonia Brex - Sonia Brex & Band Live

Size: 111,2 MB
Time: 47:35
File: MP3 @ 320K/s
Released: 2014
Styles: Electronic, Jazz/Pop Vocals, Lounge
Art: Front

01. 17. Marz (4:08)
02. Good Times (4:32)
03. Naif (4:38)
04. Lampada (4:59)
05. Winter In Summer (4:37)
06. Life Like (4:04)
07. La Luna Vera (3:39)
08. Ring My Bell (4:54)
09. A Little Bird (3:40)
10. Fruhling In Berlin (3:26)
11. Play (4:52)

A Sicilian expatriate living in Berlin, Sonia Brex sings and writes cosmopolitan pop songs at once contemporary and yet filled with fleeting memories of music past. The melancholy title track is vaguely bossa nova and flows easily into the electronic, robotic rhythms of the Kraftwerk-conjuring “Frühling in Berlin.” Much of the music is like a dream, strangely familiar but hard to pin down. Brex’ voice is often an expressive blank, but it waxes playful on the upbeat “A Little Bird,” a catchy tune that could be Top-40 in someone’s alternative universe. ~By David Luhrssen

Sonia Brex & Band Live

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Tolvan Big Band - Code Red

Bitrate: 320K/s
Time: 61:23
Size: 140.5 MB
Styles: Big band
Year: 2007
Art: Front

[ 7:41] 1. Code Red
[11:20] 2. Cats And Dogs
[ 6:37] 3. The Other Day
[ 7:21] 4. Going Bananas
[ 6:40] 5. Subconscious C
[12:41] 6. Antelope Dance
[ 8:59] 7. Ups And Downs

While the Tolvan Big Band is comprised of Swedish musicians and all seven of the selections that they perform on Code Red are originals (by either leader-altoist Helge Albin, saxophonist Cennet Jonsson, or pianist Jacob Karlzon), the music can easily pass for modern and swinging American big-band jazz. The material is fresh and the solos are lively but there is nothing obviously Swedish or exotic about the music. The musicianship is top-notch and among the soloists are trumpeter Peter Asplund (probably the best known of the musicians outside Sweden), trombonist Vincent Nilsson, and Jonsson, who is showcased on bass clarinet during "Subconscious C." Albin just takes one solo (on "Cats and Dogs") but deserves congratulations for keeping the Tolvan Big Band together since 1979; it was considered a major orchestra in Sweden by 1983 and its music communicates very well to all jazz listeners. ~Scott Yanow

Code Red

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Liz Vice - There's A Light

Bitrate: 320K/s
Time: 37:28
Size: 85.8 MB
Styles: R&B, Gospel
Year: 2014
Art: Front

[3:31] 1. Abide
[4:38] 2. Empty Me Out
[5:03] 3. Entrance
[3:56] 4. The Source
[4:17] 5. Truly Today
[2:00] 6. Pure Religion
[3:42] 7. Everything Is Yours
[3:55] 8. All Must Be Well
[4:18] 9. Enclosed By You
[2:03] 10. There's A Light

When I was a kid I would go into the basement and play the “Lion King” soundtrack over and over while I performed a dance alone for hours. Being the middle child of five children in a single parent home allows for one to vanish without anyone noticing.

I wanted to perform. I wanted to be an actress. Growing up poor, being brown little brown girl, didn't lend itself to a lot of opportunities to pursue the dream of acting. I can remember at a very early age waking up to the sound of mother singing “Rise and Shine and give God the glory” when she wanted us up for school - to this day that song kind of drives me crazy, but this early memory just reminds me that I have always been around music.

My absent father is a very talented award winning musician, with his PhD in music, and he is still involved in the music business to this day. Although he has never been a presence in my life, I can’t deny that the musical gene has passed on to me.

Music was all around me, but never something I prayed that God would open doors for me. I was always afraid to sing on stage, and to this day my throat feels as though it’s caving in until I pray the simple prayer: “LORD, sing over me and I will sing over the people.”

One evening I was watching a man perform a cabaret of his favorite Broadway show tunes. As I sat and watched this man perform, I was hit with an image of me sitting in a classroom. The classroom was filled with students and God was standing at the front. He asked, “Who is up for the challenge?” All of the students raised their hands. I kept my hand down, and my head bowed. I didn't want Him to notice that I had decided that whatever He was asking wasn't my calling. The LORD slowly began to walk towards me and tapped on my desk. I look up and He asked again, “Are you up for the challenge?” I sat there and then I nodded yes. Who is going to tell God ‘NO’!?

So here I am, singing. Singing in church, singing with well-known local artists, and even though I can’t claim that the opportunities in music are because of what I've done, I will declare that saying “YES” to God's calling will open your eyes to reasons for why you shouldn't put yourself in a box.

There's A Light

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Zoot Sims, Jimmy Raney & Jim Hall - Two Jims & Zoot

Bitrate: 320K/s

Time: 40:11

Size: 92.0 MB

Styles: Saxophone jazz

Year: 1964/2009

Art: Front

[2:50] 1. Hold Me

[4:19] 2. A Primera Vez

[3:06] 3. Presente De Natal

[4:33] 4. Morning Of The Carnival

[4:35] 5. Este Seu Olhar

[3:18] 6. Betaminus

[4:25] 7. Move It

[4:48] 8. All Across The City

[4:20] 9. Coisa Mais Linda

[3:51] 10. How About You

The slightly unusual date Two Jims and a Zoot features tenor saxophonist Zoot Sims interacting with two guitarists (Jimmy Raney and Jim Hall) while given subtle support by bassist Steve Swallow and drummer Osie Johnson. Although the eight selections (none of which caught on as standards) had all been written recently and sometimes display the influence of bossa nova, the quiet performances could pass for 1954 rather than 1964. The cool-toned improvisations and boppish playing have a timeless quality about them although for the time period aspects of this music already sounded a bit old-fashioned. ~Scott Yanow

Two Jims And Zoot 

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Jimmy Rosenberg - The One And Only

Bitrate: 320K/s
Time: 68:41
Size: 157.2 MB
Styles: Gypsy jazz guitar
Year: 2013
Art: Front

[3:25] 1. Them There Eyes
[3:30] 2. Coquette
[7:11] 3. I'm In The Mood For Love
[3:06] 4. It Don't Mean A Thing (If It Ain't Got That Swing)
[6:10] 5. Nature Boy
[2:11] 6. I Can't Give You Anything But Love
[3:03] 7. Blues For Ike
[5:24] 8. Embraceable You
[4:38] 9. Donna Lee
[2:05] 10. Valse De Wass
[5:42] 11. Troublant Bolero
[1:59] 12. Limehouse Blues
[1:11] 13. Mystery Pacific
[3:39] 14. Love's Melody
[3:36] 15. Groovin' High
[1:43] 16. Micro
[4:29] 17. September Song
[5:31] 18. The Sheik Of Araby

Eleven years ago three of the greatest acoustic guitar players in the world at that time met in Paris, and recorded one of the most bizarre monster guitar albums ever: Jimmy Rosenberg's "The One And Only", on guitars: Jimmy Rosenberg, Bireli Lagrene and Angelo Debarre! On acoustic guitars!

All three players are European gypsies, and all three started off as professional guitar players at a very young age (10-13), and all three of them were initially inspired by the incredible Django Reinhardt (1910-1953) - the grandfather of all contemporary guitar players. However, they had all developed in different directions: Bireli had toured with a. o. Jaco Pastorious, Angelo Dabarre had done research in traditional gypsy music (extremely virtuoso), but the 17 year old Jimmy Rosenberg took most of his music from his own, seemingly limitless imagination. All three of them were monster players, and highly competitive...

When we met in the studio (I had been there ten years earlier, together with Chet Baker), it was magic from the very first moment: we only had two short days booked, and both Bireli and Angelo were gigging in different jazz clubs in Paris at night, so we had to be extremely efficient! That's not unusual in a jazz recording session, but what these three guys came up with during our recording sessions is no less than fantastic!

They had no time for going into new compositions, so they started jamming on jazz standards - trading choruses with each other, trying to top whatever had been done on acoustic guitars before, and competed in speed, hot licks, imagination and beauty. I have never before, or after, heard anything like what they did those days, and I have spent 25 years together with these guys - they are always good, but that was great!

Most of the tracks on the CD are first takes! Some are second takes, but never more than that. Their plectrum and right hand techniques are a chapter of it's own - they use heavy plectrums, 0'11 strings, and the right hand do not touch the guitar at all while playing - it's perfection par excellence. Both Bireli Lagrene, Angelo Debarre and Jimmy Rosenberg have a very beautiful "tone" in the accoustic guitar, and it's all in the technique, not in the instrument. I have heard Jimmy Rosenberg play on a toy guitar, it sounded much better than most other guitar players on fabulous instruments.

So - in short - you do not know what acoustic guitar can be, if you have not heard these three guys together: Bireli Lagrene and Angelo Debarre together with the possibly greatest acoustic guitar player since Django: Jimmy Rosenberg on his CD "The One And Only" (HCRCD 117).

In the years that has followed, many players have tried to copy the playing on this album, and it has become a reference CD in the genre, but it was during those two days in Paris it was done first.

There is a tragedy hidden in this story: the incredible Jimmy Rosenberg toured the world, and recorded nine amazing CDs, before his drug addiction took over. In 2004, at the age of 24, he finally collapsed on stage during a concert with Hot Club de Norvège (yours truly on guitar), and he has never recovered. Today he is in a closed mental institution, and we should all keep our fingers crossed that Jimmy Rosenberg - one of the greatest guitar players ever - one day will be back.

Yours truly,
Jon Larsen

The One and Only

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Karen Johns & Company - Star and Season

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 40:13
Size: 92,4 MB
Art: Front

(3:37)  1. Carry Me Away
(3:46)  2. Night and Day
(3:18)  3. Stars Fell on Alabama
(4:11)  4. While the Moon
(4:18)  5. If
(2:52)  6. Desafinado (Slightly out of Tune)
(4:01)  7. Company Blues
(3:51)  8. Southland Summer
(4:13)  9. Autumn Leaves
(3:10) 10. angels in the snow
(2:53) 11. China Town

Similar to the variation in New England seasons, Karen Johns is equal in the moods that swing from her new, self-released CD, Star and Season. Partnered in life and song with husband James, Ms. Johns and Company has spun a collection of meticulous jazz confections, which delve into a much deserving catalogue of music sheets. Ms. Johns performance portrays numerous dimensions, which are felt on this disc. She captures the lounge seductress within a smoke-filled room with the cut "Night and Day," and then is off in an elegant show tune-esque sway with "China Town," both alluring with a unique stage appeal. I take pleasure in the attitudes of her eclectic voice, a dynamic real time experiment in performance. The lady has authoritative range with her vocals.... Ms. Johns' execution of arrangements can be compared to notes vying for her affection, with the result actually being, the affection becoming ours. The spice of the disc bulks up a bold behavior, with the horn-heavy spin "Carry Me Away," a cool yet brazen Ms. Johns is unleashed for an uplifting feel of loveliness... Note a bit of her scat side flexing its muscles! Star and Season is a compelling disc, one that makes the audience brace themselves. You are drawn to its romantic pitch and pulse, yet the task of defining the artist is indefinably original. The line-up on stage with her, along with guitarist-husband James, in most cases matches her talent precisely. Star and Season has that "chart presence" promise. One thing I can assure you of, the star for any season is present on every spin! ~ Karl Stober  

http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/star-and-season-by-karen-johns-company.html

Musicians: Karen Johns- vocals, Kevin Sanders- piano-keys, James Johns- guitars- duet vocals on Angels In the Snow, Brook Sutton- bass, Bart Elliott- drums-percussion, Jim Hoke- saxophones-clarinet,Mark Horwitz- flute-trombone, Ben Graves- mandolin

Star and Season

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Stephanie Rebecca - Deep Inside of Me

Styles: Vocal Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 42:47
Size: 98,7 MB
Art: Front

(3:55)  1. My Romance
(4:08)  2. What'll I Do?
(5:17)  3. Corcovado
(5:23)  4. The Nearness of You
(2:59)  5. The Way You Look Tonight
(7:10)  6. So Many Stars
(2:48)  7. On Green Dolphin Street
(4:34)  8. Fotografia
(3:53)  9. They Can't Take That Away from Me
(2:36) 10. The Very Thought of You

Rhythm Universal Records, recording artist, Stephanie Rebecca, comes out of (believe it or not!), Ketchikan, Alaska, “swinging hard!”  Born in Sitka, Alaska in 1984, Stephanie spent her musical formative years in the vibrant arts community of Ketchikan. Jazz was always a major element in her upbringing, beginning with announcing songs on her Dad’s long running public radio show, “Sunday Jazz.”
Stephanie continued her musical instruction with elementary music teacher and trumpeter, Dale Curtis, and was cultivated by the McPherson Music jazz bands. Stephanie’s vocal talent was first revealed by Ketchikan’s “First City Players’ Jazz Cabaret” performances which involve musicians from New York City coming to the small island of Ketchikan to teach vocal/instrumental jazz workshops to community members.

Relocating to Washington, DC early in 2012, Stephanie began working with vocal coach Alison Crockett on vocal techniques whom she met at the Maryland Summer Jazz Festival.  Later that fall, Stephanie met and began working with jazz artist, band leader, jazz drummer, producer and musical director “EC3” after performing at the HR-57 jazz club.

“Deep Inside of Me” is the culmination of months of collaboration with EC3 and a group of top flight musicians including Mark Saltman (bass), William Knowles and Sammy Manguia (piano), Teddy Baker (tenor sax), Dominique Patrick Noel (percussion), Arch “AT” Thompson (flute), and Clynt Hyson, Dominique Patrick Noel, and Laura Sosa (additional vocals). With the release of this debut CD, 29 year-old Stephanie Rebecca enters the world of professional jazz vocalists singing these great standards hailing back decades before her birth with a panache and style all her own. She is, in the words of many, ‘an old soul’ in a young frame. Stephanie is quickly becoming known as Southeast Alaska’s First Lady of Jazz with her natural delivery of pure rich tones under a tidal current of swing. Still in her twenties, she’s been compared to singers like Sarah Vaughan, Diana Krall, and Norah Jones. Truly a must see and hear!  http://stephanie-rebecca.com/?page_id=19

Deep Inside of Me

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Martial Solal - NY-1 - Live At The Village Vanguard

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 68:22
Size: 156,9 MB
Art: Front

( 5:36)  1. NY-1
(14:06)  2. What Is This Thing Called Love
( 9:11)  3. Suspect Rhythm
( 8:01)  4. Body & Soul
( 7:58)  5. Zag Zig
(12:59)  6. Softly As In A Morning Sunrise
(10:28)  7. Lombardy

Pianist Martial Solal is an overlooked and underrated musician who deserves wider recognition. Nothing could underscore this more than the stellar live recording Solal made at the Village Vanguard a few weeks after the attacks of September 11, 2001. Apparently, the pianist had a rough time getting to New York and without much preparation chose to deal primarily with standards, as if to return to some safe and familiar territory both musically and emotionally. 

"What Is This Thing Called Love" takes on a deeply metaphorical tone through Solal's poignant and minor-sounding intro, and his Art Tatum meets McCoy Tyner version of "Body and Soul" is breathtaking. Backed by the capable and sensitive hands of drummer Bill Stewart and bassist François Moutin, Solal strips melodies to their core statement  including on his original compositions only to extrapolate them to their outermost reaches in his solos. He plays in quick burst of harmonic fury, purposefully dropping notes every few bars. Stylistically, he couldn't have chosen better sparring partners than Stewart and Moutin, who constantly accent Solal's every rhythmic idea. They often sound like three soloists playing at once, as on the original "Suspect Rhythm." One might assume this could lead to chaos, but each member of the trio always seems to be listening deeply to what the others are playing. This is highly creative and cerebral jazz that also succeeds in reaching your soul. ~ Matt Collar   http://www.allmusic.com/album/ny1-mw0000031180

NY-1 Live At The Village Vanguard

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Jimmy Forrest - All the Gin Is Gone

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 41:32
Size: 95,5 MB
Art: Front + Back

(4:50)  1. All the Gin Is Gone
(6:45)  2. Laura
(6:35)  3. You Go to My Head
(5:34)  4. Myra
(9:27)  5. Caravan
(3:01)  6. What's New
(5:18)  7. Sunkenfoal

This was the first album that tenor saxophonist Jimmy Forrest made after his R&B phase ended. Particularly notable is that the set served as the recording debut of guitarist Grant Green; completing the band are pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones. The top-notch group performs two ballads, "Caravan" and three basic Forrest originals, including the title cut. The music is essentially melodic and blues-based hard bop that looks toward soul-jazz. Everyone sounds in fine form. ~ Scott Yanow   http://www.allmusic.com/album/all-the-gin-is-gone-mw0000676760

All the Gin Is Gone

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Gerry Mulligan - The After Life Of The Party

Bitrate: 320K/s
Time: 78:19
Size: 179.3 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[5:55] 1. That Old Feeling
[3:35] 2. Anything Goes
[5:04] 3. Sweet And Lovely
[2:51] 4. Nights At The Turntable
[6:34] 5. Broadway
[6:55] 6. Too Close For Comfort
[5:21] 7. Everything Happens To Me
[2:41] 8. Love Me Or Leave Me
[6:25] 9. Let's Fall In Love
[5:11] 10. The Lady Is A Tramp
[3:11] 11. My Old Flame
[5:41] 12. A Ballad
[6:38] 13. Bernie's Tune
[3:26] 14. Makin' Whoopee
[8:44] 15. This Can't Be Love

The sensuous blending of textures is as much the hallmark of Gerry Mulligan's compositional style as an understated lyricism is the signature of his work on baritone sax. Both talents were fully displayed in his breakthrough appearance on the celebrated BIRTH OF THE COOL of 1949, an album for which the 21-year-old provided more than half of its innovative compositions. After the 1950s, Mulligan's laid-back style was overshadowed by new developments in jazz and the burgeoning of rock in the '60s and '70s. But his touring and recording schedule continued apace, and he enjoyed fruitful collaborations with an older generation of musicians who had an instinctive affinity for his style.

The After Life Of The Party

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Lorraine Feather - Ages

Bitrate: 320K/s
Time: 52:21
Size: 119.8 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:16] 1. A Lot To Remember
[5:17] 2. Peculiar Universe
[4:32] 3. I Forgot To Have Children
[5:46] 4. Old At 18 / Dog Bowl
[3:48] 5. Perugia
[4:14] 6. Things I Learned In High School
[6:51] 7. Two Desperate Women In Their Late 30s
[7:00] 8. The Girl With The Lazy Eye
[4:39] 9. How Did We End Up Here
[2:37] 10. Scrabble
[4:17] 11. I Always Had A Thing For You

Lorraine Feather, unlike any jazz singer on the scene, is pushing her formidable abilities to their maximum, dining and dancing on a bed of life stories that modern men and women can relate to. Essentially sophisticated metropolitan tales, Feather expands her novel-length treatises far beyond mere chapter and verse of love and loss, into an arena so compelling and emotionally involved, one feels as if they were songs with every listener in mind. She's also blessed with a keen ear for extraordinary accompanists who also co-write the music aside her lyric content, including pianists Russell Ferrante or Shelly Berg, guitarist Eddie Arkin, bassist Michael Valerio, and several fine guest soloists. The thing about these songs that truly sets them apart is they are based on pure inspiration, far removed from being based on any preconception of any jazz standards -- a true (if you'll please excuse the pun) feather in her cap. She's also using an exceptional range from high sailing to deepest low, but not obsidian levels, leaping octaves only when the mood fits, but not for simple pyrotechnical effect. As playful and lithe as she is clever, her voice suits the mood and intent of the humorous song "A Lot to Remember" as she references things happening in threes and going from "zero to sixty" in her long listings. The hip funk of "Old at 18/Dog Bowl" also runs down a veritable database of reasons why, in a mosaic that displays her more legato voicings. There are three duets, including a waltz alongside Ferrante -- "The Girl with the Lazy Eye," the story where the young person's grades are mediocre, raising more questions than answers -- while with pianist Dick Hyman, "Scrabble" is a scrambling parlor scat, jumpy and quick, whipping through words. "Peculiar Universe" is atypically melancholy for the upbeat Feather, as she operates in a Kurt Weill/Bertold Brecht world with Béla Fleck on banjo, as is Felix Mendelssohn's "Perugia," arranged by Ferrante, another waltz dripping with regret over lost love and soul. But Feather ups the emotional quotient even higher during "How Did We End Up Here?," as she, Ferrante, and vibraphonist Bob Leatherbarrow work a samba to a tick-tock beat with drummer and percussionist Michael Shapiro. Starting off light, but delving into a heavy emotional introspection as a married couple enjoy a tropical get-away, Feather creates something so powerfully intimate, pondering life, fate, and circumstance -- it's her crowning achievement on this disc, and maybe of her entire career. To say Lorraine Feather has created a triptych of experiences from adolescence to adulthood on this overview of the human condition through various ages is simplistic.

What she has done is dig deep into the psyche of all of us through herself, creating a stunning recording that once again trumps the other excellent albums she has made. Asking "how did we end up here?," the listener has to pose this question in retort -- "is the sky the limit?," and "how high is that sky?". ~Michael G. Nastos

Ages

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Leila Pinheiro & Nelson Faria - Céu E Mar

Bitrate: 320K/s
Time: 47:49
Size: 109.5 MB
Styles: Brazilian jazz
Year: 2012
Art: Front

[3:59] 1. Doce Presença
[4:01] 2. Dos Navegantes
[3:09] 3. Cada Tempo Em Seu Lugar
[3:21] 4. Céu E Mar
[4:16] 5. Armadilhas De Um Romance
[4:53] 6. Embarcação
[5:47] 7. O Amor É Chama
[4:09] 8. Sucedeu Assim
[3:03] 9. Bala Com Bala
[3:44] 10. Bolero De Satã
[2:55] 11. That Old Evil Called Love
[4:25] 12. Dupla Traição

Riding on a new wave of Bossa Nova, Céu e Mar (‘Sky and Sea’), Leila Pinheiro and Nelson Faria’s first worldwide release revisits classic Brazilian songs from great composers such as Antonio Carlos (Tom) Jobim, Ivan Lins, Djavan, Gilberto Gil and João Bosco; giving them refreshingly beautiful versions at the same time as keeping true to their everlasting poetry and cadence.

The track that gives name to this fine work exalts the wonderful marriage of the sky and the sea; the way they seem to complete each other, bringing harmony to the world and our lives. “Bala com Bala”, on its turn, is a sweet old school samba with that feel of a mesa de bar: just like an intimate group of friends happily singing merry songs, as they enjoy their time round a table in a bar that could be anywhere in Brazil. Another classic, from one of Bossa Nova’s creators (Tom Jobim), is “Sucedeu Assim” describing how love approaches us so imperceptibly and disguised in so many different forms, until it is too late, and our reasoning is already his prisoner and our heart his new territory to reign.

Leila’s deep melodious voice combined with Nelson’s stunning instrumentalist technique give this compilation a perfect Carioca feeling. So, unwind as you listen to it and let it slowly transport you to a gorgeous sunset on a distant beach in Rio de Janeiro, where the breeze rocks your dreams and the waves come to wash away all worries; leaving only the sweet rhythm to feel your soul. Born in Belém, Pará (northen of Brazil), Leila long ago became a Carioca at heart, after moving to Rio de Janeiro in 1981. She has since recorded 16 albums and toured Europe, United States and Japan, making her remarkable voice and great talent and sensibility known around the world.

After his training in L.A., Minas Gerais’ born guitarist and composer Nelson Faria became an important Brazilian musician and has worked with acclaimed artists as Milton Nascimento, Ivan Lins and João Bosco.

Céu e Mar marks the encounter of these two artists as a celebration of the Brazilian music, its diversity and timelessness. ~Jurema Simoes

Céu E Mar

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Mimi Fox & Greta Matassa - Two For The Road

Styles: Guitar Jazz, Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 63:55
Size: 147,0 MB
Art: Front

( 7:15)  1. Medley: Alone Together / Yesterdays
( 5:14)  2. Centerpiece
( 2:26)  3. I'm Beginning To See The Light
( 4:58)  4. Denney's Tune
( 3:45)  5. West Coast Blues
( 3:31)  6. I Have The Feeling I've Been Here Before
( 2:34)  7. What Is This Thing Called Love?
( 3:46)  8. You're No Angel
( 7:07)  9. You Don't Know What Love Is
( 5:45) 10. Take The A' Train
(12:12) 11. Green Dolphin Street
( 5:18) 12. Autumn Nocturne

This live set is shared by guitarist Mimi Fox and singer Greta Matassa, a combination that works together quite well. Matassa mostly performs a variety of standards (other than Fox's "You're No Angel"), and both swings and uplifts the material. A fine jazz singer, her improvising pays respect to the songs but contains its surprising moments. Fox, who heads the five-piece "backup group" (which also includes pianist Randy Halberstadt) and is featured on the instrumental "Denney's Tune," sounds quite comfortable with Matassa, accompanying her sympathetically and adding some fiery solos that push the singer. This musical partnership brings out the best in both performers. ~ Scott Yanow  http://www.allmusic.com/album/two-for-the-road-live-at-bakes-place-mw0000599556

Two For The Road

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Stephanie K. - Subterranean Dream

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 67:21
Size: 155,7 MB
Art: Front

(4:09)  1. Dont Let Me Be Lonely Tonight
(4:26)  2. The Fool On the Hill
(2:45)  3. Should We or Should We Not
(6:05)  4. Im a Fool to Want You
(4:02)  5. Subterranean Dream
(4:56)  6. Echoes of a Landscape
(4:07)  7. Never Let Me Go
(4:00)  8. Straight Ahead
(2:56)  9. Cant We Be Friends
(4:55) 10. 50 Ways to Leave Your Lover
(4:55) 11. Infant Eyes
(4:51) 12. Cant Find My Way Home
(5:09) 13. The Island (Começar de novo)
(4:39) 14. Whispers With the Wind
(5:19) 15. Winter Sweet

Stephanie K has emerged like the Venus of jazz“ with a fully-developed style that is more in keeping with that of a veteran artist. Her voice has a presence that immediately captures your attention, drawing you into her sphere of musical influence, emitting flashes of Aretha Franklin, Carol King, Diana Krall and Billie Holiday. But Stephanie K is no derivative jazz singer; she is a true original (understand that she had never even heard Anita O'Day as recently as a year ago). And she has at her command an impressive level of musicianship, with the phrasing, intonation and time sense of the seasoned jazz musician. That she came by all this as a mother of four living in Northern Germany for the past thirteen years is powerful testament to her natural abilities. Stephanie K's musical tastes run to rich, rarely-heard ballads that are brought to life by her torchy vocal style, fresh renderings of canonical popular tunes and vivid transformations of chestnuts from the American songbook.

This album, the first to be produced in Stephanie K's native U.S.A., is a book that is hard to put down; from the first phrase, you can't wait to hear where it will go next. She is joined here by an impressive group of young New York musicians. Most notable are pianist Aaron Goldberg, bassist Reuben Rogers and guitarist Ryan Scott, who create a nearly perfect complement to Stephanie's vocal style, surrounding her with a rich texture that rarely intrudes, expanding on her implicit harmonic and rhythmic statements. Highlights include her intimate rendering of James Taylor's "Don't Let Me Be Lonely Tonight", the lush, haunting "I'm a Fool to Want You" and "Straight Ahead", a tune by the legendary Mal Waldron. In his remarkable solo on "Straight Ahead", Goldberg seems to channel the composer, with an uncanny recreation of Waldron's distinctive left-hand-centric piano style. "Can't We Be Friends" begins with a near-telepathic duo with bassist Rogers, establishing once and for all Stephanie K's considerable musical chops. A growing passion for writing her own tunes and lyrics is reflected here in three original compositions: the feisty "Should We or Should We Not", an impressionistic "Subterranean Dream" and the eerily cool "Whispers With the Wind". Her talents as a lyricist are also evidenced in her version of Wayne Shorter's classic "Infant Eyes", a performance that perhaps best characterizes her unique fusion of jazz and torch styles. Stephanie K's American recording debut is destined to capture the attention of the jazz public: if you play this CD and don't find yourself possessed by her music, you had better have your hearing checked.

A project which began with a few e-mails exchanged between Japan, NY and Switzerland in October of last year, culminated in the NY recording of the CD "Subterranean Dream". Together with co-producers Reuben Rogers (bass) and Aaron Goldberg (piano), a pencil sketch of 15 songs were selected. Goldberg's predominate arrangements primed the canvas for a collage of standards, Stephanie K. originals, and pop tunes. Through inspired intros and fresh motifs, the collective vision of Rogers and Goldberg created a rich soundscape. Drummer Eric Harland was called in for some defining lines and delicate, yet colorful brush strokes, and the solo skills of saxophone master John Ellis and guitarist Ryan Scott added depth and perspective. Within the framework of this polished jazz combo, that explores both texture and space, vocalist Stephanie K. is allowed the freedom to blend in and stand out at will. Her choice of standards and pop tunes are as soulfully interpreted as her heartfelt original compositions, and her melancholic timbre lends a dreamlike quality to this multi-dimensional portrait of sound.

To vocalist Stephanie K., each song tells a unique story, one which she spins with the threads of her own life and offers with emotion to her audience. Her sultry voice can hover somewhere between nostalgia and melancholy, only to surprise her listeners with a fast talking tale laced with wit and innuendo. (to be continued here:  http://www.cdbaby.com/cd/stephaniekmusic)

Subterranean Dream

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Ted Rosenthal Trio - My Funny Valentine

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 69:48
Size: 160,2 MB
Art: Front

(6:42)  1. You'd Be So Nice To Come Home To
(6:43)  2. My Funny Valentine
(5:16)  3. Alone Together
(6:58)  4. Lover Man
(8:26)  5. Softly As In A Morning Sunrise
(6:48)  6. Don't Explain
(4:28)  7. Autumn Leaves
(7:18)  8. I Fall In Love To Easily
(6:23)  9. Summertime
(7:11) 10. Falling In Love With Love
(3:33) 11. 'S Wonderful

In a skittish music industry where labels increasingly blur their identities and grab at gimmicks just to stay alive, it's reassuring to know that Venus Records continues to produce high-quality, straight-ahead jazz. Based in Japan but recording mostly in New York, Venus has a longstanding, signature focus on documenting the world's best piano trios, and My Funny Valentine is no exception. This project was conceived by leader Ted Rosenthal as an instrumental tribute to singer Helen Merrill, who has long been a huge star in Japan; together they have performed many of the tunes on this CD, including "You'd Be So Nice to Come Home To," which was Merrill's first and most beloved hit (her 1954 Emarcy eponymous album on which it arrived was voted "best album of the past 50 years" in a Japanese magazine readers' poll). Like virtually every Venus artist, Rosenthal and his colleagues bassist George Mraz and drummer Al Foster are world-renowned players with impressive pedigrees who are at the absolute top of their game. Given the label's famous preference for familiar standards in traditional arrangements, the challenge is to play them with both respect and creativity. This trio rises tunefully to that challenge with soulful romanticism, a dash of mischief, and the highest level of seamless interplay. Between Rosenthal's fluid eloquence, Mraz's deep lyricism, and Foster's subtly propulsive accents, they give new life to classics like "Alone Together" and "Softly As in a Morning Sunrise." My Funny Valentine offers seventy minutes of pure mainstream jazz, with an emphasis on luxurious ballads. This CD is so melodic that you can even play it for people who claim to dislike this music. It may even convert a few. ~ Dr.Judith Schlesinger   

http://www.allaboutjazz.com/php/article.php?id=29174#.Ut6UK7RpQ2w

Personnel: Ted Rosenthal: piano; George Mraz: bass; Al Foster: drums.

My Funny Valentine

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Carmen McRae - Book Of Ballads

Bitrate: 320K/s
Time: 40:37
Size: 93.0 MB
Styles: Vocal jazz, Standards
Year: 1959/ 2013
Art: Front

[3:10] 1. By Myself
[3:51] 2. The Thrill Is Gone
[4:05] 3. How Long Has This Been Going On
[2:51] 4. Do You Know Why
[3:52] 5. My Romance
[2:59] 6. Isn't It Romantic
[3:28] 7. If Love Is Good To Me
[3:46] 8. When I Fall In Love
[3:13] 9. Please Be Kind
[2:40] 10. He Was Too Good To Me
[2:40] 11. Angel Eyes
[3:57] 12. Something I Dreamed Last Night

The Book of Ballads in question is the Great American Songbook, and Carmen McRae breathes new life into some of its most dog-eared pages on this wonderful session that heralded the close of her Kapp Records tenure. McRae tackles material like "When I Fall in Love," "Isn't It Romantic?" and "How Long Has This Been Going On?" with uncommon care and intelligence, summoning rich new meaning from the familiar lyrics. In her hands, the songs pulse with energy and life. Arranger Frank Hunter and a supporting trio led by pianist Don Abney also merit commendation for nuanced, evocative backings that afford McRae the necessary space to do her thing. ~Jason Ankeny

Book Of Ballads

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Kurt Elling - 1619 Broadway: The Brill Building Project

Bitrate: 320K/s

Time: 56:31

Size: 129.4 MB

Styles: Vocal jazz

Year: 2012

Art: Front

[6:15] 1. On Broadway

[6:19] 2. Come Fly With Me

[4:57] 3. You Send Me

[5:40] 4. I Only Have Eyes For You

[2:47] 5. I'm Satisfied

[6:59] 6. A House Is Not A Home

[3:30] 7. Shoppin' For Clothes

[5:57] 8. So Far Away

[3:18] 9. Pleasant Valley Sunday

[5:23] 10. An American Tune

[5:21] 11. Tutti For Cootie

Kurt Elling celebrates a legendary legacy from outside the jazz world. 1619 Broadway – The Brill Building Project honors a locale that the London Telegraph called "the most important generator of popular songs in the Western world." Even for the ceaselessly inventive GRAMMY-winning singer-lyricist, it's a hugely unexpected step, and one guaranteed to further solidify his reputation for bold innovation and superb craftsmanship.

"Having done so many projects about my love for Chicago," Elling says, "I wanted to make something that spoke of my love for New York." The two cities define his career. Elling developed his craft in Chicago, and recorded several of his early albums there – including his debut, Close Your Eyes, which catapulted him onto the national stage and earned the first of his many GRAMMY nominations. (All told, every one of Elling's ten albums has been nominated for at least one jazz GRAMMY – a streak unequalled in GRAMMY history.)

But in fact, Elling and his family have lived in Manhattan since 2008, and 1619 Broadway – The Brill Building Project is his response to that experience.

"I didn't want to cover any of the New York songwriters jazz people usually go to: the Gershwins, Rodgers and Hart, Cole Porter, all of whom I love; I wanted to reach out for something different for jazz. The vast collection of songs coming out of The Brill Building seemed like a gold mine."

The Brill Building Project

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Shauna Anderson - Simple

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 44:54
Size: 103,1 MB
Art: Front

(2:11)  1. Give Me the Simple Life
(3:14)  2. When I Need You
(3:00)  3. Simple
(2:50)  4. Swinging Through the Hard Times
(4:59)  5. Happy Family
(2:37)  6. Darn It, Baby That's Love
(4:46)  7. Harvest Moon
(4:55)  8. Count Your Blessings
(3:52)  9. Fallen
(4:15) 10. Try Your Wings
(3:26) 11. Old Porch Swing
(3:32) 12. Cerasse Tea
(1:12) 13. La La Lu (Lullaby from Lady and the Tramp)

Shauna grew up in Plymouth, Massachusetts, surrounded by music and singing relatives. She got her musical start at a young age in the basement of her Grandpa Murphy's house where she spent hours pounding away on a dusty, out-of-tune, upright piano. When piano playing didn't click with her, she moved on to the acoustic guitar. Frustrated, she quickly gave it up when her brother Ryan excelled at a much quicker pace. Fortunately, singing came much easier. Shauna started singing "professionally" at Sacred Heart High School in Kingston, MA. She was very active in drama and chorus, led by the "Singing Sisters," Sisters Rosalie and Rosemund. Her first big solo in chorus was *Chiquita Banana.* When she came to U. of Vermont, she longed to start a band and play at the clubs downtown. While in the library (pretending to study) she saw a sign on a bulletin board that said, "WANTED: Singer for new Acid Jazz band." She tore down the sign, called the number the next day and by the end of the week had joined the band Belizbeha. That was March of 1994. For the next 6-7 years Belizbeha toured extensively around the country and produced 2 CDs of all original material. Belizbeha shared the stage with the likes of Kool & the Gang, Gil Scott Heron, The Last Poets, De La Soul, The Roots, A Tribe Called Quest, Busta Rhymes, and many others. After the release of their second album, "Void Where Inhibited" the band dissolved, although they still play shows every now and again. Everyone in Belizbeha went on to pursue music in his or her own individual way.

When not on the road with Belizbeha, Shauna worked part-time at the Sai-Gon Cafe in Burlington, and it was there that she hooked up with Joe Capps and Chris Peterman. She had known Joe from Belizbeha; they had recorded some songs out at Joe's studio. Shauna knew Chris through Belizbeha as well; he played saxophone on their first album and played many gigs with them. When Joe and Chris were playing at the restaurant, Shauna would sometimes get up and sing a song or two with them. Since it was so fun they decided to pursue playing some "real" gigs together. Thus, in 1997, the Shauna Antoniuc Trio was born, and they went on to play numerous gigs at jazz bars, restaurants, weddings, corporate functions, and colleges throughout Vermont and New Hampshire. They released one CD called "The Dream's On Me" in 2002 and recorded another in 2003. The second CD, after sitting on a shelf for 5 years, was released in 2008. It's called "In the Moonlight." Their third CD together, "Simple" is being released in 2011 under a new name, Shauna Anderson. Rick Norcross was a regular customer at the Sai-Gon Cafe as well, and when the singer left his western swing outfit, Rick and the Ramblers, he asked Shauna to audition for the job. She was hired for the summer 1999 tour and worked with them for 5 more summers, playing every weekend throughout Vermont. Chris Peterman also joined Rick's crew in 2001, playing with him for another year. Shauna still sits in on gigs in Vermont for both the jazz trio and the Ramblers. 2003 was a busy year for Shauna. 

In February, she and husband Brandy Anderson were married at the breathtaking Marie Reine-du-Monde Cathedral in Montreal. Mother's day was truly special that year as they found out they were pregnant. In July, they left Vermont behind and moved to Sacramento, CA to be near Brandy's family. The fall brought new jobs, and on December 29th little Jula Elizabeth arrived just in time for the tax break. They crammed marriage and moving, career changes and diaper changes all into one fantastic year. When Shauna arrived in CA she knew she wanted to continue singing. She joined the musician's union and asked who she should contact for jazz. Bill Rase was the leader of one of the oldest big bands in the area, so she stopped by his recording studio and gave him a CD. Soon she was playing gigs with Bill all over the Sacramento area.  At one of Bill's gigs, Shauna met Brad Hammett, an outstanding trombone player. He asked her is she would like to join a band they were putting together. Brad has an awesome studio in Auburn, so Shauna went out there to meet Mickey Bennett, a swinging bass player, and Charlie Robinson, a fantastic jazz guitarist. They recorded a bunch of standards and started playing out at weddings, restaurants, and functions.

Shauna also joined a couple of cover bands; in 2004 she hooked up with Frenchy and The Feather River Outlaws. They covered mostly country and rock tunes and played heavily in the Marysville area. Shauna still keeps in touch with the Outlaws and plays with them sometimes. In the summer of 2006, Shauna joined another cover band, Stealin' Time. They play occasional gigs as well. Shauna took a hiatus from singing as she and Brandy had two more little girls, one right after the other; in May of 2006 Mary-Margaret Christine arrived, and right on her coat tails was Evamarie Dorothy, born a year and 2 days later. Baby #4 -- another girl -- arrived on January 1st, 2009. Cecilia Juanita is named after the patron saint of musicians, St. Cecilia! Recently, Shauna returned to Vermont to record an album of some of her favorite pop and jazz songs with Joe and Chris and other musicians she used to work with. This album, Simple, is made up of songs that remind her of the simple blessings in our lives. In times that are rough - indeed, in ALL times - it is good to remember what really matters. Shauna hopes to make the world just a little more beautiful with these songs!  http://www.cdbaby.com/cd/shaunaanderson

Simple

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Shannon Butcher & Rebecca Hennessy - Butcher Sings Baker

Styles: Vocal Jazz, Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 25:50
Size: 59,8 MB
Art: Front

(2:50)  1. Do It the Hard Way
(3:10)  2. I'll Remember April
(3:35)  3. Time After Time
(3:20)  4. Almost Blue
(3:29)  5. Happy Little Sunbeam
(3:46)  6. My Heart Stood Still
(5:39)  7. Everything Happens to Me

Shannon Butcher (Vocals) with Rebecca Hennessy (Trumpet) perform the Chet Baker Songbook; saluting one of the Jazz world’s most popular male vocalists and horn players. In their first collaboration together, these two celebrated ladies of the Toronto jazz scene will perform a broad range of material spanning the breadth of Chet Baker’s career, with a focus on his vocal repertoire.  Selections will include works from his later period such as Elvis Costello’s “Almost Blue” along with the classic standards “I Fall In Love Too Easily”, “My Funny Valentine”, “It Could Happen To You”, “Let’s Get Lost” and more!Accompanied by an outstanding Piano, Bass and Drum trio (Mark Kieswetter, Ross MacIntyre and Maxwell Roach), this duo who are known for exploring the “new” come together to explore the inspiration of a jazz icon. Shannon Butcher is a well-loved vocalist in the Canadian jazz scene who achieves steady jazz radio play across the country. She has built her career by creating her own jazz songbook, filled with a unique repertoire of self-composed material and distinctive jazz interpretations of recent pop music. Canadian jazz radio has heartily embraced Shannon’s repertoire as presented on her two solo albums, 2008’s “Words We Both Could say” and 2010’s “Little Hearts”, (albums that contain a combined total of only three traditional jazz interpretations out of a total of 21 tracks), as well as on 2011’s duo album with Ross MacIntyre; “How Sweet It Is” (where only one of eleven tracks is considered a Jazz “Standard”.) Her albums have consistently reached the Top-Ten national jazz airplay charts, and her live performances in her home town of Toronto, as well as at Canadian Jazz festivals and regional theatres (such as The Rose Theatre in Brampton, Mississauga’s Living Arts Centre and the Richmond Hill Centre for the Arts) never fail to charm a crowd.

Rebecca Hennessy (Trumpet) is a sought-after player in the Canadian jazz scene, as well as the indie music scene (where she works with artists such as Ron Sexsmith, Owen Pallett, Broken Social Scene, Feist and Sara Slean).  She is most well known for her work as member of the chamber-jazz quartet “Hobson’s Choice” – who have released two full length CDs and one EP since 2008.  As with her other jazz projects, Rebecca’s focus with Hobson’s Choice has been on original compositions and improvised music. As Shakura S’Aida wrote recently about Rebecca, “she is one seriously talented player, who plays with a sensitivity that never leaves strength behind.”  

http://hughsroom.com/2013/01/butcher-sings-baker/

Butcher Sings Baker

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