Julie Anne - Hey Daddy!

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 48:09
Size: 110,6 MB
Art: Front

(2:08)  1. Daddy
(3:50)  2. I Got It Bad and That Ain't Good
(2:48)  3. Hallelujah, I Just Love Him So
(4:30)  4. Bewitched
(3:44)  5. I Don`t Know Enough About You
(4:25)  6. The Very Thought of You
(3:22)  7. Gee, Baby, Ain't I Good to You
(3:41)  8. Guess Who I Saw Today
(5:19)  9. Peel Me a Grape
(5:08) 10. How Long Has This Been Goin' on
(3:56) 11. Cry Me a River
(5:14) 12. Black Coffee

Julie Anne is one of a kind!  You will be entranced by Julie Anne's own personal style that sets her aside from all others. Influenced by the most distinguished jazz vocalists such as Ella Fitzgerald, Sarah Vaughn, Julie London and Peggy Lee, Julie Anne pays tribute to them by keeping these classic jazz standards alive. The quality of her voice, her unique phrasing and interpretations make Julie Anne one of the top jazz performers around. Julie Anne has a degree in Music Education from the University of Arizona. She taught choir, general music and theatre locally for eight years. However, her biggest love is singing. Julie Anne has been singing in Tucson for over 20 years. You may have seen Julie Anne at many Tucson Jazz Society events such as the Diva’s of Jazz or Tribute to Women in Jazz concerts, “Tucson Swings!” dances and concerts, "Triple Threat!" concerts in which she sings and dances with two other talented ladies Crystal Stark and Katherine Byrnes, Cushing Street, Dove Mountain, the piano bar at McMahon’s Steak House, Ventana Canyon, Kingfisher, Blue Fin, Westward Look, The Gas Light Theatre, Starr Pass resort, Green Valley, Saddlebrooke, Sun City/Phoenix, Old Pueblo Grill or any number of other concerts, events, conventions or weddings. Julie Anne performs with just a piano or guitar, a trio, quartet or a full Big Band. Her preference is an 8 piece band with horns. That really swings!!! 

"Hey, Daddy!" was chosen to be one of the top 25 indie music releases of 2007 by Indie-Music.com!!!! "Hey, Daddy!" was recorded at Jim Brady Recording Studios (The top studio in town!) with Jeff Haskell on piano, Ed Delucia on guitar, Scott Black on bass, Fred Hayes on drums, Greg Armstrong on sax and clarinet, Rob Boone on trombone, Martin Patfield on trumpet and flugal horn, Christine Vivona on harp and members of the Tucson Symphony Orchestra on strings. I'm very proud of it!   

http://www.julieannesjazz.com/section=press

Hey Daddy!

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Susanna Bartilla - I Love Lee

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 34:52
Size: 81,1 MB
Art: Front

(2:30)  1. Why Don't You Do Right
(2:51)  2. Golden Earrings
(4:18)  3. I'm Through With Love
(3:14)  4. Gee, Baby, Ain't I Good to You
(2:48)  5. Johnny Guitar
(3:40)  6. Fever
(4:12)  7. I Can't Give You Anything But Love
(2:11)  8. Almost Like Being in Love
(2:33)  9. I Don't Know Enough About You (feat. Sean Gourley)
(2:47) 10. You Go to My Head
(3:43) 11. Once in a While

So which Lee does singer Susanna Bartilla love? Lee Marvin? Six Million Dollar Man Lee Majors? Both men would be intriguing subjects for a tribute album, but of course the answer lies elsewhere. It's there in tiny letters on the cover of I Love Lee, but it's even more obvious from the opening bars of Kansas Joe McCoy's "Why Don't You Do Right." This is a tribute to the great Peggy Lee. It's a fitting tribute, too, with excellent song selection, superb delivery and, despite the presence of a terrific backing band, a focus on the vocals rather than extended instrumental breaks.

Bartilla was born in Germany but has lived and worked in France for some years. She has a pure, bright, voice with a distinctive vibrato, which gives a fascinating dynamic to her interpretations of these Songbook classics a style more akin to chanteuses such as Edith Piaf rather than Lee's own approach.

This album appears within months of Swedish singer Jessica Pilnas' Norma Delores Egstrom: A Tribute To Peggy Lee (ACT, 2012). It's just a coincidence, but it does reflect the admiration in which Lee is still held. The two albums also show just how much scope Lee's music gives to artists; only the classic "Fever" appears on both recordings, while the distinctly different approaches of the singers and the contrasting instrumental lineups ensure that the albums complement each other beautifully. Pilnas was joined by vibraphone, trumpet and bass, giving her songs a bright, seductive, musical foundation. On I Love Lee Bartilla is accompanied by guitar, piano, bass and drums, and the result is a more blues-tinged feel, an earthier sensuality.

Bartilla is accompanied by the duo of bassist Claude Mouton and guitarist Sean Gourley on three tunes. Mouton's emphatic bass riff on "Fever" gives Gourlay a solid foundation for his rich-toned guitar, while the sparse bass and guitar lines on "Johnny Guitar" co-written by Lee and Victor Young for the 1954 film of the same name enhance the melancholy lyrics, which Bartilla delivers with just the right level of pathos.

The addition of pianist Alain Jean-Marie and drummer Aldo Romano gives songs such as "I Can't Give You Anything But Love" and the positive, optimistic "Almost Like Being In Love" an added drive. On "I'm Through With Love" and "Once In A While" the pair creates a late-night atmosphere for the torch song tales Bartilla tells.

Gourley is a splendid guitarist, and also demonstrates his vocal prowess when he joins Bartilla for "I Don't Know Enough About You." His raw, bluesy, voice is a perfect complement to Bartilla's on this cheery, upbeat, number which is further enlivened by Jean-Marie's piano contribution.

I Love Lee has the endorsement of Peggy Lee's granddaughter, Holly Foster Wells. It's pleasing to see such an acknowledgement of Bartilla's work, a formal recognition of her respect for Lee's legacy and the quality of her tribute. ~ Bruce Lindsay  

http://www.allaboutjazz.com/php/article.php?id=43188#.UtbF-LRc_vs

Personnel: Susanna Bartilla: vocals; Sean Gourley: guitar, vocals (9); Alain Jean- Marie: piano; Claude Mouton: bass; Aldo Romano: drums.

I Love Lee

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Herbie Hancock - The Imagine Project

Styles: Funk/Groove
Year: 2010
File: MP3@320K/s
Time: 66:16
Size: 152,4 MB
Art: Front

(7:20)  1. Herbie Hancock Feat. Pink, Seal, India.Arie, Jeff Beck, Konono Nº1 & Oumou Sangare - Imagine
(7:28)  2. Herbie Hancock Feat. Pink & John Legend - Don't Give Up
(4:43)  3. Herbie Hancock Feat. Céu - Tempo De Amor
(6:56)  4. Herbie Hancock Feat. Susan Tedeschi & Derek Trucks - Space Captain
(8:06)  5. Herbie Hancock Feat. The Chieftains, Toumani Diabaté & Lisa Hannigan - The Times, They Are A' Changin'
(4:52)  6. Herbie Hancock Feat. Juanes - La Tierra
(4:47)  7. Herbie Hancock Feat. Tinariwen, K'naan & Los Lobos - Tamatant Tilay/Exodus
(5:23)  8. Herbie Hancock Feat. Dave Matthews - Tomorrow Never Knows
(8:48)  9. Herbie Hancock Feat. James Morrison - A Change Is Gonna Come
(7:48) 10. Herbie Hancock - The Song Goes On

Intersecting with the pop world is nothing new to Herbie Hancock. Collaborating with legendary trumpeter Miles Davis on the early nexus of jazz and rock, In a Silent Way (Columbia, 1969), the keyboardist scored his own fusion hit with the funkified Head Hunters (Columbia) in 1973) and, a decade later, was on the cutting edge of techno/electronica with Future Shock (Columbia, 1983). More recently, Possibilities (Hear Music, 2005) enlisted artists including Christine Aguilera, Paul Simon and Sting for an unmistakable pop album that still retained a subtle jazz undercurrent in Hancock's own unmistakable pianism. The Imagine Project builds on Possibilities by placing big names like Dave Matthews, Pink and Seal alongside a cream-of-the-crop collection of international artists who, while representing their individual musical cultures, find common ground in every corner. Brazil's Céu, Ireland's The Chieftains, Malian rockers Tinariwen and Bengali-born sitarist Anoushka Shankar are but a few of the performers Hancock and producer Larry Klein recorded around the world, on a collection of songs often iconic and part of a collective zeitgeist that share common themes of togetherness, peace and global responsibility. 

The Imagine Project is a 21st century Love-In, complete with psychedelia (Dave Matthews singing The Beatles' "Tomorrow Never Knows") and some groovy, good-time peace and love (singer Susan Tedeschi and slide guitarist Derek Trucks Band, stretching out on "Space Captain," made famous by Joe Cocker). Peter Gabriel's gentle "Don't Give Up" retains its writer's world interests in a duet partnering pop megastar Pink and R&B singer John Legend, but with some tasty contributions from guitarist Jeff Beck. Beck's characteristically human voice also drives the album opener. Another duet for Pink this time with British soul star Seal John Lennon's ubiquitous "Imagine" blends Congolese DIYers Konono No1 with Hancock's expansive harmonization and Klein's glossy sheen to set the bar high, fusing true world music into an eminently accessible, crossover-bound mélange. 

Like Possibilities, this is a pop record, with only the occasional hint of jazz. Bob Dylan's "The Times They Are a Changin'" is sung with subtlety and implication by Ireland's Lisa Hannigan with traditional contextualization from fellow Irishmen The Chieftains but Klein's spare bass and Alex Acuña's percussion turn things more cross-cultural, as guitarist Lionel Loueke's jazz proclivities and Afro-centricities blend with Hancock during an extended trade-off section. Recorded in Mumbai, "The Song Goes On" teams Hancock and saxophonist Wayne Shorter with some stunning locals, including sitarist Anoushka Shankar; a fiery original sung by Chaka Khan that features some the disc's most spirited improvisational interplay.

Africa and Jamaica find common ground, with Chicano rockers Los Lobos in the middle, turning Tinariwen's groove-heavy "Tamatant Tilay" into a medley with reggae king Bob Marley's "Exodus," while James Morrison's version of Sam Cooke's prescient "A Change Is Gonna Come" is another highlight, as much for Hancock's astute injections as it is the British singer's impassioned delivery. Radio-friendly it may be, but The Imagine Project remains an album that couldn't have been made anyone but Hancock, an artist who intuitively understands where diverse musical spheres considered disparate by so many can seamlessly intersect. ~ John Kelman   

http://www.allaboutjazz.com/php/article.php?id=36827#.UuGbWrRpQ2w

Personnel: Herbie Hancock: piano (1-10), keyboards (1-3, 8, 10), background vocals (6); Pink: vocal (1, 2); Seal: vocal (1); Alex Acuña: percussion (1, 2, 7); India.Arie: vocal (1); Vinnie Colaiuta: drums (1, 2, 4, 6, 9, 10), tambourine (4); Larry Goldings; Hammond B-3 (1, 2); Larry Klein: bass (1, 5, 7, 10), keyboards (3), background vocals (6); Augustin Makuntima Mawangu: lead Iiekemé (1); Menga Waku: bass Iikembé (1); Makonda Mbuta; rhythm Iikembé (1); Visi Vincent: drums (1); Mbiyavana Ndofusu: percussion (1); Lionel Loueke: guitar (1, 5); Marcus Miller: bass (1, 6); Oumou Sangare: vocal (1); Jeff Beck (1, 2); John Legend: vocal (2); George Whitty: sound design (2, 10), keyboards (2, 10); Céu: vocal (3); Rodrigo Campos: percussion (3); Lucas Martins: electric bass (3); Kofi Burbridge: Hammond B-3 and vocal (4); Oteil Burbridge: bass and vocal (4); Mike Mattison: vocal and vocal arrangements (4); Susan Tedeschi: vocal (4); Derek Trucks: guitar (4); Paddy Moloney: Uillean Pipes and tin whistle (5); Seán Keane: fiddle (5); Kevin Conneff: Bodhrán (5); Matt Molloy: flute (5); Toumani Diabate: kora (5); Manu Katché: drums (5); Rhani Knja: percussion (5); Richard Bravo: percussion (6); Juanes: vocal (6); Fernando Tobon: guitar (6); Pete Wallace: keyboards (6); Jessica Hancock: background vocals (6); Alan Mintz: background vocals (6); Maeia Ruvalcaba: background vocals (6); K'NAAN: vocal (7); David Hidalgo: vocal (7); Conrad Lozano: vocal (7); Louie Pérez: vocal (7); Said Ag Ayad: djembé and background vocals (7); Abdallah Ag Lamida: guitar and background vocals (7); Alhassane Ag Touhami: guitar and lead vocals (7);Abdallah Ag Alhousseyni: bass guitar and background vocals (7); Elega Ag Hamid: guitar and background vocals (7); Ibrahim Ag Alhabib: background vocals (7); Danny Barnes: bass, banjo and guitar (8); Matt Chamberlain: drums (8); Michael Chaves: guitar (8); Dave Matthews: vocal and guitar (8); Paulinho Da Costa: percussion (9); James Morrison: vocal (9); Dean Parks: guitar (9); Tal Wilkenfeld: bass (9); K.S. Chithra: vocal (10); Bhawai Shankar Kathak: pakhawaj (10); Chaka Khan: vocal (10); Sridhar Parthasarthy: mridangam (10); Anoushka Shankar: sitar (10); Wayne Shorter: soprano saxophone (10); Satyajit Talwakar: tablas (10).

The Imagine Project

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Nils Landgren - Eternal Beauty

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 55:52
Size: 127,9 MB
Art: Front

(2:50)  1. Love of My Life
(3:20)  2. Another Kind of Blue
(4:08)  3. Broken Wings
(4:38)  4. Don't Let Me Be Lonely Tonight
(4:24)  5. Green Fields
(3:14)  6. One Frozen Moment
(4:00)  7. Eternal Beauty
(3:56)  8. Isn't It a Pity
(4:19)  9. Get Here
(3:36) 10. One More Angel
(4:37) 11. We Don't Need Another Hero
(4:40) 12. For Your Love (Quem Me Dera)
(4:32) 13. Dear Diary
(3:32) 14. Love Is Real

Not only the trombonist Nils Landgren has built up an enormous fan base over the decades with his Funk Unit, with big bands and alongside the greats of jazz music so has the vocalist Nils Landgren. His clear, throaty and yet mellow voice is very distinctive, and perfect for ballads. Apart from on his Christmas anthology Christmas With My friends it could also be admired on The Moon, The Stars And You that came out two years ago. What is more, Landgren put together a rhythm section here that understood each other intuitively. Alongside his companion of many years Lars Danielsson on the bass and cello, and the Viktoria Tolstoy drummer Rasmus Kihlberg, he also added Michael Wollny as a consummate sensitive piano accompanist to the mix.

It is a criterion that most of the songs on "Eternal Beauty" will certainly also meet for many listeners, from George Harrison's Isn't It A Pity to Mr. Mister's Broken Wings on through to We don't Need Another Hero made popular by Tina Turner. And not just the hits adapted from pop, no, also intelligent jazz ballads the likes of ;One More Angel from the jazz bassist John Patitucci and Another Kind Of Blue by the New York-based German guitarist Torsten de Winkel. Michael Wollny wrote the title track together with Eva Svensson, Esbjörn Svensson's widow, and the whole album Eternal Beauty is an homage to Esbjörn. 

http://www.amazon.co.uk/Eternal-Beauty-Nils-Landgren/dp/B00GM08GTE

Eternal Beauty

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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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