India Arie - Acoustic Soul

Styles: R&B
Year: 2001
File: MP3@320K/s
Time: 71:03
Size: 163,8 MB
Art: Front

(0:50)  1. Intro
(4:09)  2. Video
(4:37)  3. Promises
(4:56)  4. Brown Skin
(4:57)  5. Strength, Courage, & Wisdom
(4:24)  6. Nature
(5:11)  7. Back To The Middle
(4:28)  8. Ready For Love
(1:24)  9. Interlude
(4:40) 10. Always In My Head
(3:17) 11. I See God In You
(3:26) 12. Simple
(4:03) 13. Part Of My Life
(4:05) 14. Beautiful
(1:20) 15. Outro
(5:32) 16. Wonderful (Steve Wonder Dedication)
(5:57) 17. Strength, Courage, & Wisdom (Live)
(3:36) 18. Brown Skin (Bedroom Rockers Remix)

As one of the most promising neo-soul artists yet to emerge in the past few years, India.Arie casts her lot with the best artists of her label's storied history, playing deeply introspective songs laced with glistening acoustic guitar, churchy organ, and smooth, supple beats. When she name-checks those artists no longer with us that she claims as influences (Ma Rainey, Miles Davis, Karen Carpenter, Charley Patton, Stevie Ray Vaughan, Donny Hathaway, etc.) in three separate interludes, you have no doubt she is looking back as well as forward, even going so far as to invoke Sam Cooke's "A Change Is Gonna Come." But Acoustic Soul is at its best when the arrangements are deliberately modern. And despite the uniqueness of being a guitar-based R&B album, it is Arie's thick, sandy voice that shares star billing with her exceptional lyrics. 

Betraying youthful vulnerability while at the same time projecting strength, confidence, and uncanny insight for a 25-year-old singer/songwriter, Arie wraps herself effortlessly around the deep, funky sensuality of "Brown Skin," and stands tall in defiance of pop-fashion expectations on the irresistibly catchy "Video." The uplifting "Faith, Courage, Wisdom" rides along on a euphoric chorus, and the plainly autobiographical "Back to the Middle" recounts an emotional and spiritual coming of age. Without the many concrete references to the great R&B music of the past, Acoustic Soul would be a purely modern gem, but as Arie is determined to pay her debts up front, it's much more, and that is admirable. ~ John Duffy   http://www.allmusic.com/album/acoustic-soul-mw0000001036

Acoustic Soul

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Tuck & Patti - Chocolate Moment

Styles: Vocal, Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 46:53
Size: 107,6 MB
Art: Front

(5:25)  1. Comfort Me
(4:13)  2. Love Flows Like a River
(3:18)  3. One For All
(3:45)  4. Reverie
(5:39)  5. Wildflower
(4:47)  6. Rejoice
(4:54)  7. Chocolate Moment
(3:46)  8. Interlude in the Key of P
(5:16)  9. Blast Past Your Illusions
(5:45) 10. Knowing

For just the second time in their career, Tuck & Patti offer an album that contains only original material. Perhaps this has something to do with the fact that Chocolate Moment is the first release on their own label. Equally likely is that, as with many other artists, their creativity was stirred to an unusual turbulence by the World Trade Center tragedy of the previous year. Its traces can be discerned most clearly in the lyrics to "Comfort Me," a plea for help after "all my illusions have...crumbled down in smoke and glass," and in a festive call, set to a township beat, to get past "the season of crying" in "Rejoice." The same shadow touches most of the other tracks as well, though Cathcart's positive-energy emanations make them harder to spot on, for example, "Love Flows Like a River," a gentle meditation that turns out to be about saying goodbye to loved ones. What stands intact throughout Chocolate Moment is the intimacy of their musical union, with Tuck's astonishing accompaniment glistening against Patti's honeyed, soulful tones. Her songs are not easy to play and, as the shortage of breath spots in "Knowing" illustrates, they can be tricky to sing as well. Yet, in the manner of every great duo, they make it all seem easy and, always, supremely musical throughout Chocolate Moment. ~ Robert L.Doerschuck   

http://www.allmusic.com/album/chocolate-moment-mw0000226907

Chocolate Moment

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Eldar Djangirov - Viture

Styles: Post-Bop, Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 69:42
Size: 161,2 MB
Art: Front

(6:23)  1. Exposition
(5:43)  2. Insensitive
(9:09)  3. Blues Sketch In Clave
(5:24)  4. Iris
(7:06)  5. The Exorcist
(6:34)  6. Lullaby Fantazia
(5:57)  7. Blackjack
(7:53)  8. Long Passage
(6:19)  9. Estate
(6:11) 10. Daily Living
(3:00) 11. Vanilla Sky

Eldar Djangirov continues hell-bent on dazzling audiences with his impressive technique, speed-demon array of notes, and music that is displaying more of a jagged edge and abject angular inventions. The staggeringly pronounced music he is making takes a different turn on Virtue, utilizing horns and synthesizers, but it's mostly his kamikaze acoustic piano  frequently turning on a dime that is the centerpiece. Djangirov receives help from Joshua Redman, who plays tenor and soprano sax, and trumpeter Nicholas Payton on one cut apiece, as well as saxophonist Felipe Lamoglia on four selections. Rarely displaying reserve, Djangirov is fully gassed up and ready to wail on these pieces that require acute listening skills to hear everything being dished out, but for him must seem naturally supercharged. Those impressed with pyrotechnics will likely be blown away by tracks like the busy horn-driven road song on cobblestones "Exposition," with Redman; the powerhouse piece "The Exorcist," with astounding invention and a bit of synth flavoring; and the jumpy, superball-in-a-squash-court "Blackjack," featuring Payton. Funky rock beats dominate the youth-oriented "Blues Sketch in Clave," featuring Lamoglia's tenor and soprano, while "Vanilla Sky" is another craggy, loose-cannon tune in odd meters fused by Lamoglia's soprano.

Slightly throttled, "Lullaby Fantazia" is a lithe and soulful 4/4 track with a 5/4 modal insert that is more organic and breathing than steaming along. "Daily Living" takes into account the elfin flourishes of Chick Corea, while also adopting staggered phrasings, electric keyboards, and a sound that can strike a kinship with peers like Robert Glasper and Aaron Parks. Some trio-only tracks with electric bass guitarist Armando Gola and drummer Ludwig Alfonso including the pretty, cascading "Insensitive," the actual introspective and delicate "Iris," and the real ballad take of the classic "Estate" all show that Djangirov can ramp down the thunder and lightning into low-watt, sustainable, impressionistic motifs. While not all bombast and the high drama has its valid virtuosity the variations are either black or white, with no interest in the middle ground or a larger color palette. This is Eldar's eighth CD, at age 22 still a very young and maturing musician who has a lot to offer and gives it all up in one fell swoop. Strap in for the ride. ~ Michael G.Nastos   http://www.allmusic.com/album/virtue-mw0000827137

Viture

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Janine Gilbert-Carter - A Song For You / At Last

Album: A Song For You
Size: 135,9 MB
Time: 58:25
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. There Is No Greater Love (4:15)
02. What A Difference A Day Made (4:42)
03. Don't Go To Stranger (5:44)
04. Candy (3:35)
05. Here's To Life (5:20)
06. Green Dolphin Street (6:29)
07. All Of Me (4:00)
08. A Song For You (4:11)
09. Please Send Me Someone To Love (5:01)
10. Someone Else Is Steppin' In (3:44)
11. When I Fall In Love (4:35)
12. At Last (6:43)

Jazz can only endure so many vocal performances that take the art to some interesting and even ground-breaking outer reaches before things must correct themselves with a release or two that are straight down the middle, reminding us how we got there to begin with. Janine Gilbert-Carter fills the bill with a no-nonsense recital of standards that should help any jazz listener understand what Miles Davis was trying to say when he played, "On Green Dolphin Street.

Gilbert-Carter is backed by a guitar-piano quintet with a reeds front. Her voice is soulful, full of Church, capable of filling sonic space with an aural humidity that is honest what-you-see-is-what-you-get. Nowhere is this better displayed than on Percy Mayfield's "Please Send Me Someone to Love, and Etta James' theme, "At Last. On both, Paul Carr's full-bodied tenor caresses Gilbert-Carter's phrasing, while soloing with great gusto and the occasional crack, always keeping things real. Guitarist Steve Abshire adds tasty chording and six-string filigree. Pianist Chris Grasso can lay the blues on, having certainly listened to Red Garland's "...Someone to Love and James' "At Last.

The bawdy blues is reserved for sassy Denise LaSalle's "Someone Else is Steppin' In'. Abshire hits his comping stride, compelling the band to greater and greater intensity. These pieces are late in the recital, the earlier positions reserved for ballad, a trinity of which make the fulcrum of the recording. "Green Dolphin Street is delivered with punch and panache. Carr trades his tenor for the wicked soprano, which he guides serpentine through the standard. "Street is followed by a sprite "All of Me. Grasso's bouncing intro and deftly light touch disguises the virility of his solo, single notes ringing like a cross between Horace Silver and Gene Harris. The triad of ballads conclude with Leon Russell's "A Song for You. Gilbert-Carter waxes emotively, propelled by Chris Grasso's simple accompaniment.

A Song for You is a meat and potatoes jazz vocals recording, sung by an accomplished artist showing us all how these songs are to be sung. ~Review by C. Michael Bailey

Personnel: Janine Gilbert-Carter: vocals; Steve Abshire: guitar; Clyde Adams: drums; Paul Carr: tenor and soprano saxophones; Gavin Fallow: bass; Chris Grasso: piano.

A Song For You

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Album: At Last
Size: 147,0 MB
Time: 63:25
File: MP3 @ 320K/s
Released: 2013
Styles: Blues Jazz, Blues Soul, Jazz Vocals
Label: Janine Gilbert-Carter
Art: Front

01. Let The Good Times Roll (5:30)
02. Don't Get Around Much Anymore (4:53)
03. Stormy Monday (7:41)
04. Let's Stay Together (4:50)
05. Since I Fell For You (6:46)
06. How High The Moon (5:27)
07. My Funny Valentine (7:48)
08. Ain't Got Nothing But The Blues (4:58)
09. Fever (4:43)
10. I Don't Hurt Anymore (2:47)
11. At Last (7:56)

"Her poignantly warm, rich, soulful voice lovingly and profoundly penetrates the soul of all who are blessed to hear her. From the first note, the listener becomes spellbound. Not only her voice, but her delivery captivates. - Dr. Diane Brenda Williams

Janine Carter was introduced to gospel, Jazz and blues at a very early age by her parents and grandmother. This Pennsylvania native cannot remember a time when music was not a part of her very existence. She began her musical journey like so many contemporary artists as a member of the choir at her church in Aliquippa, PA. She also had the opportunity to expand on her solo performances as a member of the Bach Choir of PA which performed some of Broadways most exciting musicals. Janine continued to use the gift she was given to perform at various functions and special events until she relocated to the Washington, DC Metropolitan area in the summer of 1988. During the summer of 1996 Janine performed her debut concert in the DC area at New Genesis Baptist Church, this celestial songbird has been flying ever since.

Since 1998 Ms. Gilbert-Carter has performed with the Washington Performing Arts Society Men & Women of the Gospel Mass Choir and has shared the stage with notable artists such as Tramaine Hawkins, Oleta Adams, Regina Bell, Ann Nesby and Donnie McClurkin and Sweet Honey in the Rock for WPAS's Annual Gospel concert held at the Kennedy Center in Washington, DC.

Since September 2001 Janine has worked with local jazz musical talents Ronnie Wells-Elliston and Ron Elliston. Audiences have been delighted with her performances at leading DC jazz venues such as: The Mandarin Oriental, Kaufmann's, Laporta's, The Strathmore, Twins Jazz, The U Street Jazz series concerts held at the Islander in Washington DC, The FMJS East Coast Jazz Festival and the legendary Washington DC supper Club Blues Alley in addition to several prestigious White House Events.

Janine was a finalist in the 2003 FMJS competition, 2004 Mayor's Billie Holiday vocal competition and a quarter finalist in the 2005 Americans traditions competition in Savannah, GA. Gilbert-Carter has also performed at many special events were she has shared the stage with area-wide jazz musicians like pianist Aaron Grave, Vince Smith, Eric Byrd, Chris Grasso and Ron Elliston; bassist Wes Biles, James King, Saxophonist Paul Carr and percussionist Nasar Abady, Jeff Neal and the late Ricky Loza and Mike Smith.

In 2006 Janine join the cast of "Sistas Can Sang, A Tribute to Female Jazz Legends" where she portrays the legendary Dinah Washington.

With the Release of "At Last" this will mark Janine's seventh exploration. She has released six previous CD's in two different genres; (Jazz) In the Moment, A Song For You, Inside A Silent Tear and Sailing (Gospel) God Spoke To Me and Janine Gilbert-Carter & Friends Live at the FMJS quarterly gospel concert. Janine's prayer is to have a positive effect on all that hear her music and to exude the feeling of warmth and love through her music.

At Last

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Ken Slavin - You Gotta Have Heart: Live At The Metropolitan Room In New York

Size: 142,0 MB
Time: 60:34
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. I Love Being Here With You (2:34)
02. Out Of Nowhere (3:13)
03. Fly Me To The Moon (In Other Words) (3:17)
04. Heart (3:06)
05. That's My Desire (3:31)
06. The Way You Look Tonight (2:37)
07. Centerpiece (6:38)
08. When Did You Leave Heaven (3:55)
09. Fever (4:14)
10. You Call It Madness (But I Call It Love) (2:21)
11. The Lady Is A Tramp (2:20)
12. New York Medley I've Got A Crush On New York Town - Autumn In New York (6:24)
13. Sabor A Mi (3:29)
14. Everyday I Have The Blues (4:47)
15. Ain't Misbehavin' (3:41)
16. Mack The Knife (4:19)

This is Ken Slavin's fifth professional recording in a career spanning nearly 25 years - and the first time one of his shows has been captured "live." It was recorded at his New York City singing debut on Halloween NIght, October 31, 2013, at the world-famous Metropolitan Room in Manhattan.

Long-time fans and first-time listeners alike often compare Ken's sound to a younger Tony Bennett, Johnny Hartman, Joe Williams or Mel Torme. One music critic dubbed him "Mr. Tuxedo Voice." Texas Monthly says he's one of the "Swing Set." In reality, his voice, persona and performance style are unique and place him in a category all his own.

His classy and fresh approach to the Great American Songbook and timeless jazz standards has earned him the moniker of "Jazz Crooner Extraordinaire" and the honor of opening for such varied jazz legends as The Four Freshmen, Eddie Palmieri, Savid Sanborn, Dee Dee Bridgewater and Chico Hamilton, performing in concert with the internationally acclaimed Jim Cullum Jazz Band, and giving private performances for Grammy Award winning pop stars Helen Reddy and Vikki Carr. He sings throughout the United States and has hopes of going on tour in the near future.

Ken's recordings have been heard and purchased around the world, thanks to the Internet Age. He has been featured on many top-rated radio programs, including "Late Nights with Joann Goode" on BBC Radio's London flagship station, where he recently was invited to appear in person for a 30-minute interview and salute to his music. Stations in such faraway locales as Peru, Italy, France, Poland, Alaska, the Philippines and Brazil have him on their playlists - and he receives emails and letters from fans across the globe.

If you enjoy good melodies, beautiful lyrics, a sense of romance and sophistication - and a thoroughly relaxing-yet-uplifting listening experience, you will love Ken Slavin: Jazz Crooner Extraordinaire!

You Gotta Have Heart

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Jim Hall - By Arrangement

Bitrate: 320K/s

Time: 60:08

Size: 137.7 MB

Styles: Guitar jazz

Year: 1998

Art: Front

[8:31] 1. Django

[4:59] 2. Waltz For Debby

[5:18] 3. Ruby, My Dear

[8:23] 4. Goodbye

[6:14] 5. Art Song

[6:37] 6. October Song

[7:33] 7. Wendy

[6:54] 8. The Wind

[5:36] 9. Whisper Not

Long acclaimed for his understated lyrical approach to the guitar, Jim Hall's diverse arrangements on this CD are also first-class. His dazzling arrangement of John Lewis' "Django" features Hall with Pat Metheny, with both men on acoustic instruments for a change, accompanied only by drummer Terry Clarke and the occasional pizzicato accents of a 12-piece string section (violas and cellos!). Rarely has Gordon Jenkins' "Goodbye" been given such a fresh treatment; the brisk bossa nova rhythm, Joe Lovano's switch from clarinet to soprano sax midway in the piece, and Hall's interplay with Lovano and the strings, plus the dramatic sudden slowdown in tempo at the conclusion, make it stand out from the many recordings of this standard. The New York Voices provide a nice backdrop for Hall's solo on "Waltz for Debby," while Paul Desmond's rarely heard "Wendy" features the leader with the brilliant flugelhornist Tom Harrell, backed by a brass section. Hall's originals also merit praise: his lovely "October Song" has just a touch of melancholy with a fine viola solo backed by the strings following his solo introduction, while his challenging "Art Song" is a playful waltz. ~Ken Dryden

By Arrangement

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Lyambiko - Sings Gershwin

Bitrate: 320K/s
Time: 56:33
Size: 129.5 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[5:47] 1. 's Wonderful
[3:36] 2. It Ain't Necessary So
[3:05] 3. Love Walked In
[2:06] 4. Somebody Loves Me
[3:22] 5. I Got Rhythm
[3:02] 6. Nice Work
[5:21] 7. Someone To Watch Over Me
[2:46] 8. Let's Call The Whole Thing Off
[3:40] 9. Summertime
[4:21] 10. They All Laughed
[3:19] 11. Fascinating Rhythm
[2:49] 12. Who Cares
[3:09] 13. Crush
[1:29] 14. Slap That Bass
[4:45] 15. How Long Has This Been Going On
[3:48] 16. A Foggy Day

Lyambiko was born in the German state of Thuringia to a family with long-standing musical traditions. As a child, she took music lessons and became an accomplished singer. She was still in her teens when she formed her first folk and blues band, but her career did not take off until 1999 when she moved to Berlin. As a music academy student, she toured extensively with various groups, mostly reinterpreting jazz standards.

Lyambiko’s latest album is dedicated to the king of jazz hits, George Gershwin. Excellently produced with spot-on arrangement and subtle vocals, it became a European bestseller just several weeks after release.

Sings Gershwin

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Nancy Kelly - Singin' & Swingin'

Bitrate: 320K/s
Time: 51:52
Size: 118.8 MB
Styles: Vocal jazz
Year: 1997
Art: Front

[4:03] 1. Till There Was You
[4:55] 2. That's All
[1:47] 3. The Joint Is Jumpin'
[3:21] 4. At Long Last Love
[4:46] 5. Young and Foolish
[4:36] 6. It's All Right With Me
[3:29] 7. Slow Boat to China
[5:00] 8. Stormy Weather
[4:23] 9. I Concentrate on You
[5:18] 10. Through the Fire
[5:25] 11. Jennine
[4:45] 12. Come in from the Rain

Nancy Kelly has often found herself compared to Dianne Schuur, and the comparison rings true on Singin' and Swingin', a highly arranged CD that has as much to do with pop as it does with jazz. The singer (who has a charming quality to her voice) isn't a hardcore, true-blue improviser, but she does provide some decent scat singing on occasion. Kelly gets into a jazz groove on Duke Pearson's "Jeanine" and Cole Porter's "It's Alright With Me," while her take on Fats Waller's "The Joint Is Jumpin'" isn't unlike the sort of cabaret-influenced jazz Susannah McCorkle would do. But on material ranging from the standard "Young and Foolish" to Chaka Khan's "Through the Fire" and the Captain and Tennille's "Come In From the Rain," you're hearing what is essentially jazzy pop. Although not fantastic and not very challenging, Singin' and Swingin' is a pleasant, if conventional, release that has its moments. ~Alex Henderson

Singin' & Swingin'

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Larry Gales - A Message From Monk

Bitrate: 320K/s

Time: 61:36

Size: 141.0 MB

Styles: Hard bop

Year: 1991/2007

Art: Front

[14:39] 1. Straight No Chaser

[ 6:10] 2. Round Midnight

[10:17] 3. Off Minor

[ 8:19] 4. Ruby My Dear

[10:33] 5. Let's Call This

[11:35] 6. A Message From The High Priest

Bassist Larry Gales and drummer Ben Riley played together in Thelonious Monk's quartet during part of the 1960s and they anchor this Monk tribute CD, which also features trumpeter Claudio Roditi, trombonist Steve Turre, tenor saxophonist Junior Cook and pianist Benny Green. "Straight No Chaser" is given a lengthy jam-session treatment, "'Round Midnight" receives a surprise vocal from Gales (showing off a warm and expressive voice), Cook's tenor is featured on both "Off Minor" and "Ruby My Dear," and Green ably leads the trio through "Let's Call This" before the full sextet interprets Gales' minor-toned swinger "A Message from the High Priest." It is a little disappointing how little Roditi and Turre are heard from during the live set. But otherwise, the conventional jam on Thelonious Monk's music is respectful, boppish and enjoyable. ~Scott Yanow

A Message From Monk

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Susie Arioli - All The Way

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 47:04
Size: 108,4 MB
Art: Front

(2:54)  1. Here's That Rainy Day
(3:43)  2. Here's to the Losers
(4:15)  3. Time On My Hands
(4:02)  4. My Funny Valentine
(3:22)  5. Un Jour De Difference
(2:35)  6. Come Rain or Come Shine
(3:15)  7. Looking for a Boy
(3:05)  8. All the Way
(2:51)  9. It's Always You
(4:24) 10. When Your Lover Has Gone
(4:53) 11. Forgetful
(4:22) 12. There's a Lull in My Life
(3:16) 13. Time After Time

Vocalist Susie Arioli's performances on All The Way are all about impact through intimacy. Arioli's laidback and understated vocals don't fall in line with the textbook definition of "powerful," but her ability to create highly emotive atmospheres in cloistered and relatively calm surroundings marks her as a powerful singer nonetheless.  For this, her seventh studio affair, Arioli and her right hand man, guitarist Jordan Officer, tackle standards in their own inimitable fashion. Mellow moods tend to dominate the proceedings, but this is no sleep-inducing set of music. Gripping vocal performances, along with succinct and stylish solos, help to give the music a sense of immediacy and importance.  Arioli opens the album with a take on "My Funny Valentine" that wears the fragile-but-focused feel of a Chet Baker performance. She moves on with a casual "Time On My Hands" and a snazzy "Here's To The Losers" that features some fine saxophone section work, but things take an unexpected turn when the title track arrives. "All The Way" is refashioned into a dreamy tune with a 12/8 feel that comes across more as '50s pop production than refashioned jazz standard. Arioli continues with a bossa-leaning "Here's That Rainy Day" and more direct "It's Always You," which proves to be one of the most striking numbers on the album. 

While Arioli is the voice that powers this music, Officer proves to be the compass that guides it. He makes a connection with pianist Jeff Johnston on "My Funny Valentine," makes his soloing part of the comping fabric on "Time On My Hands" and brings a haunting quality to "When Your Lover Has Gone." Other standouts include vibraphonist Francois Stevenson and saxophonist Cameron Wallis. Both men prove to be team players and they join forces on "Looking For A Boy," which has a light spring in its step.

All The Way may actually be an odd album title for a record that thrives on languorous passion, if such a thing exists, but it actually makes sense. Arioli expresses the core sentiments of these songs with conviction, making it an album to remember. ~ Dan Bilawsky   

http://www.allaboutjazz.com/php/article.php?id=42265#.UuK3jLRpQ2w

Personnel: Susie Arioli: vocals; Jordan Officer: guitar; Jeff Johnston: piano (1, 2, 6, 8); Bill Gossage: bass (1-12); Michel Berthiaume: drums (1, 6, 7, 11, 12); Cameron Wallis: tenor saxophone (2, 8, 12, 13), baritone saxophone (3, 10); Al MacLean: tenor saxophone (3, 10); Averil Parker: tenor saxophone (3, 10); Ben Henriques: tenor saxophone (3, 10); Tony Albino: drums (2-5, 8, 10, 13); Francois Stevenson: vibraphone (4-6, 11, 12); Frederic Grenier: bass.

All The Way

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Diana Krall - The Girl in the Other Room

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 55:37
Size: 127,6 MB
Art: Front

(3:59)  1. Stop This World
(4:05)  2. The Girl in the Other Room
(4:27)  3. Temptation
(4:04)  4. Almost Blue
(4:47)  5. I've Changed My Address
(5:49)  6. Love Me Like a Man
(4:02)  7. I'm Pulling Through
(4:49)  8. Black Crow
(3:32)  9. Narrow Daylight
(5:11) 10. Abandoned Masquerade
(5:07) 11. I'm Coming Through
(5:39) 12. Departure Bay

While the jazz fascists (read: purists) may be screaming "sellout" because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn't made up of musty and dusty "classics" may irk the narrow-minded and reactionary, but it doesn't change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison's "Stop This World" to contemporary songs that are reinvented in Krall's image by Tom Waits ("Temptation"), Joni Mitchell ("Black Crow"), Chris Smither ("Love Me Like a Man"), and her husband, Elvis Costello ("Almost Blue"). 

These covers are striking. Krall's read of Allison's tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither's sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits' "Temptation" is far more sultry than Holly Cole's because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. "Black Crow" exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello's "Almost Blue" takes it out of its original countrypolitan setting and brings it back to the blues.

As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin's "Summertime." The grain in Krall's pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In "I've Changed My Address," Krall evokes the voices of ghosts such as Louis Armstrong and Anita O'Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall's solo in the tune is stunning. "Narrow Daylight," graced by gospel overtones, is a tentative step into hope with its opening line: "Narrow daylight enters the room, winter is over, summer is near." This glimmer of hope is short-lived, however, as "Abandoned Masquerade" reveals the shattered promise in the aftermath of dying love. "I'm Coming Through" and "Departure Bay," which close the set, are both underscored by the grief experienced at the loss of Krall's mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall's wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Anthony Wilson and the latter, in its starkness, offers memory as reflection and instruction. 

This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, through confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop. ~ Thom Jurek   http://www.allmusic.com/album/the-girl-in-the-other-room-mw0000696126

The Girl in the Other Room

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Bireli Lagrene - Gipsy Project & Friends

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 48:02
Size: 110,5 MB
Art: Front

(3:19)  1. Djangology
(4:26)  2. When day is done
(4:37)  3. Bei Dir War Es Immer So Schön
(2:46)  4. Babik
(2:56)  5. Les Yeux Noirs
(4:19)  6. Envie de toi
(3:20)  7. Minor Swing
(2:46)  8. Laura
(5:50)  9. Artillerie lourde
(3:15) 10. Place de Broukere
(3:36) 11. Songe d'Automne
(2:43) 12. Une histoire simple
(4:02) 13. Ma première guitare

Once again Django disciple Biréli Lagrène has released an exquisite record: Gipsy Project & Friends is one of the finest guitar jazz discs of the year! Pulling together players like Florin Niculescu on violin, Hono Winterstein and Holzmano Lagrène on guitar, and the great Henri Salvador on vocals, Biréli Lagrène has mined the depths of Django's legacy. As with his past recordings, the guitarist approaches his instrument with a subtle and graceful motion that cascades in much the same way as Reinhardt. Choosing to rework many of late master's pieces would be an unthinkable task for most, but this group of players pay mind to his bright essence and the keep the gypsy spirit alive.  A finer follow-up the amazing Gipsy Project is hard to imagine. 

Guitar prodigy Lagrène outdoes himself on several tracks, including an outstanding reading of Reinhardt's "Babik". Listening to this disc, you can't help but be elated by Lagrène's work with Florin Niculescu. Their interplay recalls Django and Stephane Grappelli's work and proves that some musicians are truly meant to play with one another. Since the recording is a gypsy project, most of these tunes are classic material. But Lagrène does have a few a surprises as well. His version of of Mercer/Raskin's "Laura" is simply beautiful. Combining string arrangement for guitar gives the song a whole new life. With the addition of the gypsy sound, the track is stunning. Fans of Django's style of jazz will find this CD a must have, but fans of guitar jazz will be especially intrigued. The musicianship is top notch and the arrangements are dead on.

~ Trevor MacLaren   

http://www.allaboutjazz.com/php/article.php?id=10977#.UuLkbbRpQ2x

Personnel: Bireli Lagrene, Holzmano Lagrene, Stochelo Rosenberg, Hono Winterstein (guitar); Henri Salvador (vocals); Florin Niculescu (violin); Diego Imbert (upright bass).

Gipsy project & Friends

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Gene Ammons - Jug

Bitrate: 320K/s
Time: 36:55
Size: 84.5 MB
Styles: Hard bop, Saxophone jazz
Year: 1961/2006
Art: Front

[5:11] 1. Ol' Man River
[4:15] 2. Easy To Love
[5:36] 3. Seed Shack
[3:48] 4. Let It Be You
[5:59] 5. Exactly Like You
[3:42] 6. Miss Lucy
[4:46] 7. Namely You
[3:36] 8. Tangerine

Tenor saxophonist Gene Ammons recorded many albums during 1961-1962, a busy period that was brought to an abrupt halt by his arrest for narcotics abuse. Jug finds the great tenor in excellent form, interpreting six standards and two of his originals with the assistance of pianist Richard Wyands, bassist Doug Watkins, drummer J.C. Heard, and the congas of Ray Barretto; Sleepy Anderson replaces Wyands on two songs, one of which he takes on organ. Few surprises occur, but fans will not be disappointed by his soulful and lyrical playing. ~Scott Yanow

Jug

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Susan Getz - The Green Eyed Girl

Bitrate: 320K/s
Time: 36:06
Size: 82.7 MB
Styles: Jazz-pop vocals
Year: 2007
Art: Front

[3:41] 1. Standing Before You Asking You To Share My Life
[3:09] 2. Shadows
[3:35] 3. Ride
[2:27] 4. The Green Eyed Girl
[2:32] 5. Drive My Car
[3:14] 6. Little Blue Flowers
[2:16] 7. The Gate Stands Open
[3:54] 8. It's Too Late
[4:43] 9. One 4 Mary
[2:38] 10. Honeypie
[3:53] 11. Standing Before You Asking You To Share My Life

Susan Getz—Looking for the “Inevitable Note”. Warm, direct jazz singer scores with heartfelt CD, The Green Eyed Girl.

With her first CD, 2005’s Jazz Boxx, Susan Getz announced her herself on the jazz scene as a singer with a graceful, assured voice, denoting a quiet yet powerful inner strength and a refreshingly unique style.

With the recent release of her newest effort, The Green Eyed Girl, Getz takes another step forward, establishing herself as an artist with a distinctive approach and the confidence to highlight a calm warmth over dazzle and flash.

The Green Eyed Girl offers listeners instant delights and a clear view into Getz’s ever maturing-artistry. While Jazz Boxx consisted predominantly of covers, with four Getz originals mixed in, Green Eyed Girl reverses that formula. Getz displays her sure composer’s touch with eight originals, with a pair of covers to balance the mix.

The Green Eyed Girl

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Johnny Alegre - Affinity

Bitrate: 320K/s
Time: 63:06
Size: 144.4 MB
Styles: Bop, Guitar jazz
Year: 2005
Art: Front

[6:55] 1. East Indies
[8:20] 2. Groove
[6:41] 3. Guardian Angel
[7:41] 4. Jazzhound
[9:14] 5. Perfect Imperfect
[6:10] 6. Remember Now
[9:56] 7. Vertigo
[8:06] 8. Wind and Water/Stones of Intramuros

The Johnny Alegre AFFINITY is a jazz group originating from the Philippines. It is led by self-taught Philippine guitarist-composer Johnny Alegre, together with bassist Colby de la Calzada, drummer Koko Bermejo, pianist Elhmir Saison and saxophonist Tots Tolentino. The ensemble first gathered in May 2002 at Manila’s Pink Noise Studios for Alegre’s composition, “Stones of Intramuros”, for inclusion in the jazz anthology CD, Adobo Jazz Vol. 1, and thereafter carried on as a working unit. The band’s first public appearance in October of the same year for the Adobo Jazz album launch at the Monk’s Dream Jazz Bar heralded the AFFINITY’s reputation –as described by aficionados in the ensuing reviews— as “Manila’s Jazz Superband”, with a power trio at its core. For the remainder of the year, the group emerged in various guises and personnel variations, manned by a who’s who of luminaries from the Philippine jazz scene.

In 2003, the original quintet that recorded “Stones of Intramuros” returned to the studio to record new compositions by Alegre; followed by a succession of other dates leading to the release of the eponymous album, Johnny Alegre AFFINITY, by the UK-based jazz specialty label, Candid Records. The band was prominently featured at the annual Fête de la Musique and the Korg Music Festival. In November, the Johnny Alegre AFFINITY inaugurated their new compositions and arrangements before an enthusiastic jazz audience at the University of the Philippines Theatre, which was subsequently broadcast, live, on prime time over national television. This national debut performance was also issued as a DVD by the sponsoring Upsilon Sigma Phi fraternity, and had since been included in a historical documentary of Philippine Jazz, issued by the Jazz Society of the Philippines. In 2004, AFFINITY once again became the focal point of two major jazz concert events, the Makati Jazz Festival celebrating its Foundation Day; and the 2nd Manila Jazz Festival.

Affinity

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Red Young - The Organizer

Bitrate: 320K/s
Time: 58:36
Size: 134.2 MB
Styles: B3 Organ jazz
Year: 2003
Art: Front

[4:39] 1. Blues Beans N' Greens
[3:49] 2. Soul Jam
[4:14] 3. Organ Grind Blues
[4:53] 4. Gettin Around
[4:54] 5. Sportin'
[5:14] 6. Blowin' A Load
[5:01] 7. Pleasure Island
[3:33] 8. Smokin' At Red's
[5:19] 9. Mr. Lucky
[5:46] 10. Swingin' Little Thing
[3:57] 11. Green Onions
[7:13] 12. Where Are You

RED YOUNG'S harmonic and complex tones attract devotees of the 40's and 50's along with today's youth looking for a break from synthesized electronica and for a connection to the organic sound of the Hammond B3 organ. Red Young delivers a hard-driving Hammond B3, transporting acid jazz, soul, groove and funk into our lives with the talents of popular Los Angeles musicians Red Young on Hammond B3, James Achor on guitar and Kenny Sara on drums. Additional tracks include Anthony Wilson on guitar and Willie McNeil on drums. The band is centered around Red Young and his wailing vintage, 400-pound, Hammond B3 organ. Red Young has played with Clyde McCoy, Lloyd Price, Joan Armatrading, Jerry Williams, Juice Newton, Sonny and Cher, Tanya Tucker, Dolly Parton, Eric Burdon, Linda Ronstadt, Nelson Riddle, Plas Johnson, Big Jay McNeely, Janiva Magness, the Fabulous Thunderbirds' Kid Ramos, Red and the Red Hots, Big Bad Voodoo Daddy, Royal Crown Revue, Joey Altruda, Johnny Reno, Scotty Morris (BBVD), Lee Rocker (Stray Cats), Stephen Bruton, Marcia Ball, Leni Stern and Adam Levy (Norah Jones). Members from Red Young's bands including the "Red Young Trio" collaborate on various tracks of this compact disc.

Recording information: Joey's Place, Hollywood, CA; Private Island Trax, Hollywood, CA.

James Achor, Anthony Wilson (guitar); Kenny Sara (drums, percussion); Willie McNeil (drums).

The Organizer

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Machan - Motion of Love

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:48
Size: 107,5 MB
Art: Front

(4:43)  1. Motion of Love
(4:52)  2. More
(3:27)  3. Everyday
(5:42)  4. Beautifully Broken
(4:27)  5. A Broken Heart Like This
(4:22)  6. Extraordinary Thing
(3:44)  7. Little Bird
(5:45)  8. In Your Word
(4:31)  9. Without Your Smile
(5:10) 10. Vulnerable

Machan has an attractive voice, writes light and catchy songs, and plays fine folksy guitar. Her original influences were Joni Mitchell and James Taylor, she was versatile enough to tour with the Glenn Miller ghost orchestra, and she has performed at a variety of sessions in the New York area. The music on her debut CD, Motion of Love, consists of ten of her originals. Although a little jazzy at times and boasting guest appearances from the likes of guitarist John Scofield, keyboardist John Medeski, and trumpeter Randy Brecker, this is essentially a modern pop album by a talented singer/songwriter. The lyrics are sometimes insightful, stretch beyond the usual love songs, and include a few fresh angles on contemporary life. Motion of Love is a fine start to Machan's solo career. ~ Scott Yanow   

http://www.allmusic.com/album/motion-of-love-mw0000482186

Motion of Love

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Nicki Parrott - The Look of Love

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 60:41
Size: 139,9 MB
Art: Front

(4:33)  1. Moonlight Serenade
(3:53)  2. The Look of Love
(5:24)  3. The Man That Got Away
(4:02)  4. As Time Goes By
(5:36)  5. The Way We Were
(3:43)  6. Diamonds Are a Girl's Best Friend
(4:02)  7. I've Grown Accustomed to His Face
(5:18)  8. The Shadow of Your Smile
(3:31)  9. Incurably Romantic
(4:15) 10. Moon River
(4:32) 11. Over the Rainbow
(3:17) 12. Raindrops Keep Fallin' on My Head
(4:43) 13. On the Street Where You Live
(3:46) 14. Smile

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”. Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001). 

More... http://musicians.allaboutjazz.com/musician.php?id=15357&width=1024#.UuLNpLRTu1s)

In “The Look of Love” Nicki is joined by John Di Martino (piano), Ken Peplowski (tenor sax and clarinet), Chuck Redd (vides), Lisa Parrott (baritone and alto sax) and Alvin Atkinson (drums). http://www.nickiparrott.com/love.html

The Look of Love

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Suzy Bogguss & Chet Atkins - Simpatico

Styles: Country
Year: 1994
File: MP3@320K/s
Time: 39:20
Size: 92,4 MB
Art: Front

(3:12)  1. In The Jailhouse Now
(3:08)  2. When She Smiled At Him
(4:23)  3. Forget About It
(4:12)  4. Wives Don't Like Old Girlfriends
(3:59)  5. Sorry Seems To Be The Hardest Word
(3:26)  6. Two Shades Of Blue
(4:26)  7. One More For The Road
(3:41)  8. I Still Miss Someone
(3:36)  9. You Bring Out The Best In Me
(5:12) 10. This Is The Beginning Suzy

Simpatico is a laid-back, charming duet album with Chet Atkins. The duo covers a lot of ground, beginning with Jimmy Rogers' "In the Jailhouse Now," and running through Elton John's "Sorry Seems to Be the Hardest Word," and playing a couple of nice, understated originals. Although it isn't a strict country record there are quite a few pop flourishes scattered throughout it's a charmingly low-key listen.

~ Stephen Thomas Erlewine   http://www.allmusic.com/album/simpatico-mw0000121603

Simpatico

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Ehud Asherie & Harry Allen - Modern Life

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 61:32
Size: 143,4 MB
Art: Front

(6:14)  1. I've Told Every Little Star
(5:09)  2. Blues For George
(6:26)  3. The Trolley Song
(6:02)  4. He Loves And She Loves
(5:04)  5. Vignette
(7:45)  6. One For V
(7:50)  7. No Moon At All
(5:25)  8. Casbah
(6:27)  9. Soon
(5:07) 10. A Flower Is A Lovesome Thing

A dichotomy exists within the musical mind of pianist Ehud Asherie. The youthful pianist is clearly an old soul in many ways. His choice of material including tunes from George Gershwin, Billy Strayhorn and Jerome Kern combined with his knowledge of stride piano and fondness for the jazz masters of the early twentieth century are a throwback. However, Asherie also shows a thoroughly modern concept with some of his choices and stylistic preferences. These two sides converge on Modern Life. While he went with a quintet on Lockout (Posi-Tone, 2007) and Swing Set (Posi-Tone, 2008) featured a trio, he split the difference for Modern Life and goes with a quartet.  This foursome, featuring saxophonist Harry Allen, travels through a pair of Asherie originals and a variety of material from yesteryear. Asherie's clean lines and two-handed independence help to create compelling and exciting moments throughout the album. 

While Allen often arrives with a clean and alluring sound, he ramps up the energy as the song develops and often puts more grit into the mixture, giving off a bit more edge as the music unfolds. While this pattern remains consistent across the majority of the album, the biggest exception is "A Flower Is A Lovesome Thing." Allen creates a noir-ish scene, using breathy vibrato with a slight Ben Webster-influence, during this performance. Every note that Asherie plays here comes out as a crystalline musical jewel, helping to heighten the emotional impact. While Asherie and Allen work well together without any help, drummer Chuck Riggs and bassist Joel Forbes prove to be the rhythmic engine that powers the group. Whether providing a jaunty feel on Asherie's "One For V," driving the up-tempo performances like "The Trolley Song" or simply showing that less is more on "He Loves And She Loves," they always provide what is right in the moment.  Allen and Asherie take the bulk of the soloing on the record, whether wailing through a chorus or two or trading eight bars back and forth. Riggs gets in on the trading action every once in a while and Forbes steals the show with his solo on the aforementioned "One For V," but the focus remains largely on piano and saxophone. Asherie's performances on this album showcase his sophisticated sense of swing, strong musical instincts and a connection with Harry Allen that warrants more recorded music from this pairing. ~ Dan Bilawsky   http://www.allaboutjazz.com/php/article.php?id=35815#.UuFN1LRpQ2w
 

Personnel: Ehud Asherie: piano; Harry Allen: saxophone; Joel Forbes: bass; Chuck Riggs: drums.

Modern Life

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