Gene Ammons - Angel Eyes

Styles: Straight-ahead/Mainstream
Year: 1960
File: MP3@320K/s
Time: 36:54
Size: 85,0 MB
Art: Front

(6:54)  1. Gettin' Around
(5:38)  2. Blue Room
(5:58)  3. You Go To My Head
(8:52)  4. Angel Eyes
(5:15)  5. Water Jug
(4:14)  6. It's The Talk Of The Town

Gene Ammons’ Angel Eyes leaves a nagging feeling that it was thrown together and dumped onto the marketplace with little or no thought. After all, when Angel Eyes was released in 1965, Ammons was in the middle of serving a long jail term for narcotics possession. These tunes are culled from two separate sessions, done in 1960 and 1962 respectively, featuring vastly different groups. So, not only does the album feature an outdated snapshot of Ammons’ work as a jazz artist, it also features music that had lingered in the vaults for years. Of course, these two reservations are nonsense when considering the way jazz record companies operated during the 1960s. Blue Note Records, for example, held off on releasing many recordings that, upon their release years and years later, have revealed few discernable flaws. In addition, just because an album contains music recorded by an artist years ago, that in no way should detract from the listener’s enjoyment or its critical value. The six songs on Angel Eyes can easily be broken into three up-tempo tracks and three ballads. The trio of light, subtle swingers feature a quintet of Ammons, Frank Wess on flute and tenor saxophone, organist Johnny “Hammond” Smith, bassist Doug Watkins and Art Taylor on drums. Soulful playing dominates these tunes with Ammons getting in a relaxed solo on “Gettin’ Around” and Wess turning in a memorable flute improvisation on “Blue Room.” The same band shows up on the title track and shifts gears from soul to melancholy. 

In his theme statement, Ammons makes the tune his own, turning the song into a bluesy lament. When he exhorts the listener to “drink up” and “order anything you see,” his saxophone becomes an instrument of beauty and with only a few choice notes conjures up a searing impression of sadness. Throughout the nine minutes of “Angel Eyes,” Ammons’ band creates a expert example of slow-motion ballad playing that perfectly fits the song’s lyrics and drips with pure, authentic emotion. “You Go To My Head” and “It’s The Talk of the Town” pair Ammons up with a rhythm section featuring Mal Waldron on piano, bassist Wendell Marshall and Ed Thigpen on drums. Both are relatively straightforward ballads which concentrate on melody. The latter tune serves as an effective closer to the album, coming after the celebratory mood of “Water Jug,” and features a creative cadenza by Ammons. Upon first glance, Angel Eyes may give the impression that it was hastily put together by Prestige, but the music inside brims with the enthusiasm and talent of jazz musicians creating music to be enjoyed and savoured for years and years to come. ~ Robert Gilbert   http://www.allaboutjazz.com/php/article.php?id=11288#.UufoKrRpQ2w
 

Personnel: Gene Ammons - tenor saxophone; Frank Wess - tenor saxophone and flute; Johnny "Hammond" Smith - organ; Mal Waldron - piano; Doug Watkins, Wendell Marshall - bass; Art Taylor, Ed Thigpen - drums

Angel Eyes

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Bobby Timmons - This Here is Bobby Timmons

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 38:05
Size: 87,5 MB
Art: Front

(3:35)  1. This Here
(5:09)  2. Moanin'
(2:32)  3. Lush Life
(4:15)  4. The Party's Over
(3:24)  5. Prelude To A Kiss
(5:26)  6. Dat Dere
(5:09)  7. My Funny Valentine
(4:33)  8. Come Rain Or Come Shine
(3:58)  9. Joy Ride

This is a classic Riverside set that has been reissued on CD in the Original Jazz Classics series. Pianist Bobby Timmons by early 1960 had already had successful stints with Art Blakey (where he contributed "Moanin'") and Canonball Adderley (writing "This Here" and "Date Dere"). For his first recording as a leader, Timmons (whose "funky" style was beginning to become very influential) performs those three hits along with his own "Joy Ride" and five standards in a trio with bassist Sam Jones and drummer Jimmy Cobb. Always more than just a soul-jazz pianist, Timmons (who effectively takes "Lush Life" unaccompanied) became a bit stereotyped later in his career but at this early stage was at the peak of his creativity. Essential music. ~ Scott Yanow   http://www.allmusic.com/album/this-here-is-bobby-timmons-mw0000192568

This Here is Bobby Timmons

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Aga Zaryan - My Lullaby

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 52:29
Size: 120,2 MB
Art: Front

( 3:13)  1. To See A World
( 5:18)  2. Waltz For Debby
( 4:23)  3. I've Got The World On A String
( 5:22)  4. My Lullaby
( 5:13)  5. You And The Night And The Music
( 3:41)  6. I Put A Spell On You
(12:01)  7. Never Said (Chan's Song) / Trust Me
( 4:46)  8. Still We Dream (Ugly Beauty)
( 3:53)  9. I Hear Music
( 4:35) 10. Polka Dots And Moonbeams

This is the debut album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded over a decade ago, when Zaryan was completely anonymous, it exhibits for the first time an outstanding talent, fresh and innocent on one hand and remarkably mature and daring on the other. Backed up by a classic Jazz quartet, Zaryan performs ten standards, which were arranged by pianist Michal Tokaj. The other quartet members are veteran Polish Jazz saxophonist Tomasz Szukalski, bassist extraordinaire Darek Oleszkiewicz and drummer Lukasz Zyta.  The fact that Zaryan received her primary school education in UK enables her to sing in English, free from a foreign accent, which often annoys English-speaking audiences. But the lack of a foreign accent is by far not what is so remarkable about this album. It is the choice of material and the highly personal interpretation of the songs, which is strikingly original and aesthetically pleasing. 

She is able to twist and turn the familiar tunes around her small finger so to speak, with ease and elegance which is simply charming and highly sophisticated.  Another forte of the album is Zaryan´s extraordinary rapport with the quartet members, especially with bass player Darek Oleszkiewicz. Several of the tunes are by and large duets between the vocals and the bass and those are simply breathtaking. Szukalski is an ideal partner as well, constructing concise but wonderfully structured solos, always brilliantly complimenting the music. The entire quartet does a truly beautiful job, supporting the singer without overshadowing her for even a single moment. Such wonderful balance between a vocalist and her group is extremely rare and contributes immensely to the overall success of this recording. In retrospect one can easily hear all the elements, which over time amalgamated into present day Aga Zaryan and her outstanding abilities. This debut album remains a timeless beauty and a favorite album, which I intend to revisit time and again. Extraordinary!  ~ Adam Baruch   http://www.adambaruch.com/reviews_item.asp?item=104071

My Lullaby

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Ronnie Scott Quintet - Never Pat A Burning Dog

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 74:18
Size: 170,5 MB
Art: Front

(12:36)  1. Contemplation
( 4:31)  2. I'm Glad There Is You
(12:00)  3. White Caps
(11:52)  4. All The Things You Are
( 4:10)  5. This Love Of Mine
(13:43)  6. When Love Is New
(15:23)  7. Little Sunflower

Tenor saxophonist Ronnie Scott looms among the towering figures of Britain's postwar jazz scene, exerting equal influence as a performer and as the owner of the world-famous club bearing his name. He was born Ronald Schatt in the east end of London on January 28, 1927  his father, dance band saxophonist Jock Scott, separated from his mother shortly after his birth. After first purchasing a cornet from a local junk shop, Scott then moved to the soprano saxophone, finally settling on the tenor sax during his teens; at a local youth club he began performing with aspiring drummer Tony Crombie, and soon began playing the occasional professional gig. After backing bandleader Carlo Krahmer, Scott toured with trumpeter Johnny Claes in 1945, joining the hugely popular Ted Heath Big Band the following year; however, changing economics made the big bands increasingly unfeasible, and as the nascent bebop sound developing across the Atlantic began making its way to the U.K., he and Crombie traveled to New York City to explore the source firsthand. Scott would regularly return to New York after signing on to play alongside alto saxophonist Johnny Dankworth on the transatlantic ocean liner the Queen Mary.

Despite his travels Scott remained a linchpin of the growing London bop scene, and in late 1948 he co-founded Club Eleven, the first U.K. club devoted to modern jazz. During this time he developed the lyrical but harmonically complex style that would remain the hallmark of his career, first backing drummer Jack Parnell before finally forming his own band in 1953. The nine-piece group made its public debut in conjunction with a London appearance by Norman Granz's Jazz at the Philharmonic touring revue working from arrangements by trumpeter Jimmy Deuchar, the Scott band's debut proved a landmark moment in the history of British jazz, in many respects heralding the true starting point of the postwar era. Not all of Scott's instincts were sound  in 1955, he briefly assembled a full-size big band, to disastrous creative and commercial results but when he officially dissolved the group in 1956, he was a household name throughout Britain. In 1957 he co-founded the Jazz Couriers with fellow tenor saxophonist Tubby Hayes, scaling to even greater heights of fame. the Jazz Couriers amicably split in 1959.

Around this time Scott began to again entertain the notion of a London-based jazz club in the tradition of the landmarks dotting New York's 52nd Street along with Pete King, a longtime collaborator who'd recently retired from active performing, he borrowed the money necessary to lease the building at 39 Gerrard Street and on October 31, 1959 opened Ronnie Scott's Club for business. Scott himself co-headlined the opening night along with Hayes and Parnell sales were promising, but the venue only began reaching true critical mass in 1961 when it hosted its first American act, Scott favorite Zoot Sims. In the months to follow, Ronnie Scott's was the setting of performances by a who's who of American tenor icons including Dexter Gordon, Roland Kirk, Stan Getz, Sonny Stitt, Ben Webster, and Sonny Rollins. In late 1965 the club moved to its present location on Frith Street, where before the end of the decade it would host everyone from Ella Fitzgerald to Albert Ayler, becoming the epicenter of London's jazz community. Although the club consumed much of his time, Scott continued touring with a quartet featuring pianist Stan Tracey during the late 1960s, he also spearheaded an eight-piece group with whom he created the most idiosyncratic and experimental music of his career. At the time of Scott's death on December 23, 1996, his namesake club was perhaps the most famous jazz venue in all of Europe. ~ Jason Ankeny   http://www.allmusic.com/artist/ronnie-scott-mn0000332807/biography

Never Pat A Burning Dog

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Bobby Timmons - Soul Time

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 41:20
Size: 97,2 MB
Art: Front

(6:24)  1. Soul Time
(6:20)  2. So Tired
(4:16)  3. The Touch Of Your Lips
(5:14)  4. S'posin'
(5:54)  5. Stella B.
(6:16)  6. You Don't Know What Love Is
(6:53)  7. One Mo'

Pianist Bobby Timmons, best known for his sanctified and funky playing and composing, is mostly heard in a straightahead vein on this CD reissue of a Riverside session. Timmons's four originals ("So Tired" is most memorable) alternate with three standards and are interpreted by a quartet with trumpeter Blue Mitchell, bassist Sam Jones and drummer Art Blakey. The swinging music is well-played, making this a good example of Bobby Timmons playing in a boppish (as opposed to funky) setting. ~ Scott Yanow   http://www.allmusic.com/album/soul-time-mw0000626438

Soul Time

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Paul Millns - Gone Again

Size: 109,7 MB
Time: 47:12
File: MP3 @ 320K/s
Released: 2013
Styles: Pop/Rock, Jazz, Blues, Soul Rock
Art: Front

01. A Little Painkilling (4:51)
02. Love Don't Have To Be Like This (3:25)
03. Gone Again (4:06)
04. Distillery Street (4:16)
05. The Beauty Of The High Wire Dancer (3:19)
06. Close Companion Of The Blues (3:56)
07. City Boy (4:04)
08. Love In The Times Of Hardship (4:57)
09. Odd Job John (3:06)
10. Tangled Up In Stars (3:50)
11. Capsized (3:46)
12. Crazy With Love (3:30)

Recorded earlier this year in Ingo Rau’s Freiburg studio, it was produced by Paul and Ingo [who has done an outstanding job with the audio quality]. As well as being available here through the website in a few days, it is released by Rakete Records [www.rakete-medien.de], and of course at Paul’s concerts.

From the almost Nashville atmosphere of “Gone again” and ” A little Painkilling”, to the blues soaked “Distillery Street” and “Close Companion of the Blues”, via the jazzy “Love in the times of Hardship”, this is surely one of the most varied albums Paul has recorded.

All of the basic tracks were recorded live in just a few days, and this gives a very organic feel to the album, graced by wonderful contributions by Paul’s regular musicians, Ingo Rau -bass, Vladi Kempf – drums, Butch Coulter – guitar and harmonica.

Friends and guests include Nick Pentelow on saxophones and clarinet, Paul’s son Andreas on Hammond organ, Niels Kaiser on guitar, and Steve Bailey on violin. Heinz Rudolf Kunze and Tobias Kunzel also sing on the title track GONE AGAIN.

The album should delight Paul’s fans and reach out to a wider audience.

Gone Again

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Dee Bell & Marcos Silva - Silva-Bell-Elation

Size: 101,2 MB
Time: 43:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Brazilian Rhythms
Art: Front

01. Harvest Moon (4:15)
02. I've Got The World On A String (4:00)
03. Beijo Partido - Broken Kiss (4:54)
04. Night In The City (4:26)
05. I Will (3:18)
06. The Face I Love (3:15)
07. Nature Boy (4:08)
08. Dreamer (3:22)
09. The World Is Falling Down (3:40)
10. 's Wonderful (2:41)
11. Midnight Mood (5:26)

Although jazz singer Dee Bell made her first critically applauded albums back in the ’80s with the likes of Stan Getz and Eddie Duran, her name is unlikely to be familiar to many jazz fans. As James Gavin’s liner notes to her new album with pianist Marcos Silva, Silva – Bell – Elation, tells it, the Indiana-born Bell came to Northern California to pursue a singing career in 1978. She was working as a waitress in a Sausalito music club when she got up to sing “Happy Birthday” to a friend. Guitarist Eddie Duran caught her song and soon she was sitting in with his trio. Stan Getz heard her sing and was willing to listen to a demo tape. He liked what he heard, and she got a gig with Concord Jazz resulting in two albums.

While her recordings got a lot of attention and she continued to work around the San Francisco area, she was not exactly making a fortune. She had to take a full time job. In 1990, she self-produced a third album, Sagacious Grace, but the master was defective as the result of a poorly placed mike and the album couldn’t be released. Disappointed by the expensive failure, she devoted herself to marriage, family and a job as a music teacher. Twenty odd years later, with a bit of digital know-how, the technical problems were corrected. In 2011, the album was released.

Now she has teamed up with Brazilian-born Marcos Silva for an album that she calls, at least in part, “a laid back white jazz singer floating over his Brazilian rhythms.” And it works, she handles Brazilian songs like Toninho Horta’s “Beijo Partido/Broken Kiss,” Marcos Valle’s “The Face I Love,” and especially Antonio Carlos Jobim’s “Dreamer” with the finesse of a native. They’ve even arranged the Gershwins’ “S’Wonderful” as a samba.

The set opens with a cover of Neil Young’s “Harvest Moon” featuring 17-year-old Chris Sullivan playing four different sax parts. There is also a little Lennon/McCartney with a sweet version of “I Will” and Joni Mitchell’s “Night in the City.” They infuse “I’ve Got the World on a String” and “Nature Boy” with the flavor of the Caribbean, aided by steel drummer Andy Narell. Her version of Abbey Lincoln’s “The World is Falling Down” gives the tune a new life. The set ends with a wordless meditative dialogue with Silva on piano.

Silva – Bell – Elation is a tantalizing album that will leave the listener mourning for the 20 years of great music missed out on while Dee Bell was recovering from the Sagacious Grace fiasco.

Silva-Bell-Elation

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Cassandre McKinley - Til Tomorrow

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 56:03
Size: 128,9 MB
Art: Front

(3:33)  1. Trouble Man
(3:33)  2. I Want You
(4:27)  3. Til Tomorrow
(3:12)  4. I Wish It Would Rain
(3:58)  5. You're the One for Me
(3:18)  6. Pride and Joy
(3:38)  7. Your Precious Love
(4:22)  8. Night Life
(5:27)  9. Let's Get It on
(3:24) 10. After the Dance
(5:04) 11. I Won't Cry Anymore
(5:12) 12. I Wonder
(3:46) 13. Yesterday
(3:05) 14. If This World Were Mine

One of the funniest jokes that has made the rounds in the jazz world goes like this: how many jazz vocalists does it take to sing "My Funny Valentine"? All of them. The point is that so many jazz artists males and females, singers and instrumentalists  insist on performing the most overdone Tin Pan Alley warhorses no matter how much those warhorses been beaten to death over the years, and God forbid they should try to find the jazz potential in rock or R&B songs. Thus, it is refreshing to hear Boston-based vocalist Cassandre McKinley providing this jazz-friendly tribute to Marvin Gaye. 

Til Tomorrow: Remembering Marvin Gaye is not straight-ahead jazz; what McKinley does on this 59-minute CD is best described as a mixture of jazz, R&B, and pop (with blues and gospel elements at times). But jazz is certainly an important part of the equation, and McKinley doesn't simply offer note-for-note covers of songs that the late soul icon recorded; she interprets them, offering plenty of delightful surprises along the way. "I Want You" and "After the Dance" receive bossa nova makeovers, and McKinley puts a post-bop spin on "Trouble Man" without sacrificing any of the song's bluesiness. "Let's Get It On" becomes surprisingly understated and torch-like in McKinley's hands, while "I Wish It Would Rain" (a gem associated with the Temptations and Gladys Knight & the Pips more than Gaye, although he recorded it in 1970) is given an appealingly bluesy, folkish spin along the lines of Tracy Chapman. "I Wish It Would Rain" is one of the disc's least jazz-minded performances, but again, McKinley never claimed that Til Tomorrow was the work of a jazz purist. It is, however, an excellent example of a jazz-friendly vocalist acknowledging that great popular music didn't end with Tin Pan Alley. ~ Alex Henderson  

http://www.allmusic.com/album/til-tomorrow-remembering-marvin-gaye-mw0000442406

Personnel: Cassandre McKinley (vocals); Stephen Angellis (vocals); Marty Ballou (acoustic guitar, electric guitar); Dino Govoni (tenor saxophone); John Allmark (trumpet); Brad Hatfield (piano, synthesizer); Vincent Pagano (drums, percussion); Marty Richards (drums); Lexi Angellis (rainsticks).

Til Tomorrow

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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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