Satin Doll - I'm Glad There Is You

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 34:49
Size: 82,8 MB
Art: Front

(2:22)  1. You Took Advantage of Me
(3:19)  2. They Say It's Spring
(2:51)  3. I'm Glad There Is You
(3:46)  4. Just Squeeze Me
(2:00)  5. Moonlight Saving Time
(4:05)  6. Nevertheless
(2:04)  7. Rock Me To Sleep
(3:12)  8. Easy Street
(2:04)  9. I Wish You Love
(2:10) 10. When I Take My Sugar To Tea
(3:44) 11. All Or Nothing At All
(3:07) 12. Cry Me A River

Three proves a charm on the Satin Doll Trio's "I'm Glad There Is You," a CD inspired by the coziest recordings made by Sarah Vaughan, Peggy Lee, Julie London and Ella Fitzgerald. This Washington-based jazz ensemble likes to keep things simple: just voice, guitar and bass, along with a thoroughly seductive blend of classic pop and jazz tunes. The vocals are unruffled, the arrangements are uncluttered, and the songs are uncommonly good.  Singer Patrice Ferris doesn't have the distinctive voice that her role models possessed in their prime  who does?  but she always places her considerable talent at the service of the song, making the words count and moods linger. In fact, it's hard to imagine any lyricist frowning on her interpretations, since there's not even a hint of self-infatuation or gratuitous embellishment here. Instead, Ferris lets these romantic refrains and delightful melodies take hold. As a result, her often dreamy, always engaging recitals are hard to resist, whether the lyric is playful ("Just Squeeze Me"), ruminative ("They Say It's Spring") or unapologetically bitter ("Cry Me a River"). Of course, it helps that Ferris is accompanied by two like-minded musicians  guitarist Ken Kilpatrick and bassist Fred Ferris. Together, they weave a series of subdued and seamless arrangements that never fail to flatter the singer and the song. ~ Mike Joyce   http://www.satindolltrio.com/reviews.htm

I'm Glad There Is You

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Butch Miles - Straight On Till Morning

Styles: Straight-ahead/Mainstream
Year: 2003
File: MP3@320K/s
Time: 58:29
Size: 134,4 MB
Art: Front

(3:43)  1. Hangover Blues
(4:55)  2. Another Drum Thing
(4:22)  3. Frank's Blues
(3:51)  4. Cute
(7:17)  5. Dreamsville
(6:44)  6. When I Wish You Upon A Star
(8:13)  7. A Flower Is A Lovesome Thing
(3:19)  8. Quick Fix
(5:50)  9. After Hours
(5:57) 10. Outside Inn
(4:13) 11. I'm Leavin'

Another gem for those who like their swing served straight up. Recorded in Texas at Willie Nelson's studio (!), this is a propulsive, happy session where the group doesn't catch its breath till past halfway with "A Flower is a Lovesome Thing," the only ballad in the bunch. (Even "When You Wish Upon a Star" is taken up-tempo.) Butch Miles, a fine, slamming drummer in the Rich tradition, has a pedigree that includes two long stints with Basie, time with Tormé and Brubeck, and work with nearly everyone else. Here he enlists bassist Lynn Seaton, another Basie alum who, aside from his reliably excellent playing and imaginative solos, contributes some amusing Slam Stuart-esque vocalizing on "Frank's Blues," one of the CD's highlights. It was written by trumpeter Bob Ojeda during a lunch break in the studio, and in fact most of the compositions are his; while they're all pleasant, and "After Hours" is a tuneful rumba, in general they're more canvases for the band to stretch out on than melodic groundbreakers. But considering how well this group stretches out, that isn't a bad thing at all. Other notable moments include the classical guitar intro to Henry Mancini's "Dreamsville" and Kenny Drew Jr's strong, fluid playing throughout, especially on "A Flower is a Lovesome Thing," which is especially lyrical. Reportedly a one-take track, this lovely tune is marred slightly - but not fatally - by the salience of the brushes, but otherwise the mix is well-balanced. Frank Wess's contributions on sax and flute (six tracks in all) are also splendid. All told, it's a buoyant, well-executed excursion, and great fun to take. ~ Dr.Judith Schlesinger  http://www.allaboutjazz.com/php/article.php?id=12666#.Uu5ZiLSgsis

Personnel: Butch Miles (drums), Bob Ojeda (trumpet), Bill Porter (trombone), Doug Lawrence (tenor sax), Kenny Drew Jr. (piano), Lynn Seaton (bass), with Frank Wess (tenor sax, flute) and Alex Saudargas (classical guitar)

Straight On Till Morning

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Helen Merrill - With Clifford Brown & Gil Evans

Styles: Vocal Jazz
Year: 1987
File: MP3@320K/s
Time: 59:34
Size: 144,3 MB
Art: Front

(5:13)  1. Don't Explain
(4:22)  2. You'd Be So Nice To Come Home To
(5:01)  3. What's New
(3:56)  4. Falling In Love With Love
(6:01)  5. Yesterdays
(5:15)  6. Born To Be Blue
(3:16)  7. 'S Wonderful
(3:04)  8. He Was Good To Me
(3:36)  9. I've Never Seen
(4:10) 10. I'm A Fool To Want You
(3:17) 11. Troubled Waters
(3:25) 12. By Myself
(2:36) 13. People Will Say We're In Love
(3:28) 14. You're Lucky To Me
(2:52) 15. Dream Of You

Though she eventually came to be known as a "singer's singer," Helen Merrill's 1954 debut is an unmitigated success of mainstream jazz. Besides introducing the uniquely talented young singer, the date also featured small-group arrangements by Quincy Jones and marks the introduction of another future star, trumpeter Clifford Brown. Formidable as his playing is, Brown never overshadows Merrill. She is fully up to the challenge on all fronts and enthusiastically tackles uptempo numbers such as "You'd Be So Nice to Come Home To" and "Falling in Love with Love" with aplomb. A winning stylistic combination of cool jazz and hard bop, Merrill particularly excels on Mel Tormé's "Born to Be Blue," making the sophisticated tune her own as she revels in Tormé's down-and-out lyric. ~ Richard Mortifoglio  http://www.allmusic.com/album/release/helen-merrill-with-clifford-brown-gil-evans-mr0001164321

With Clifford Brown & Gil Evans

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Lena Seikaly - Looking Back

Size: 123,2 MB
Time: 52:47
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. I'm Nobody's Baby (4:02)
02. Fascinating Rhythm (4:28)
03. Foolin' Myself (4:45)
04. Please Don't Talk About Me When I'm Gone (3:16)
05. Baby, What Else Can I Do? (5:07)
06. I'm Coming, Virginia (4:13)
07. I Cover The Waterfront (5:59)
08. Love You Madly (5:47)
09. Guilty (5:41)
10. Supper Time (5:02)
11. After You've Gone (4:19)

Renowned performer Harry Connick, Jr. recently admonished young singers to think about what the lyrics mean, and not to overdo. Lena Seikaly needs no such advice. She is blessed with a beautiful natural instrument; excellent vocal training at the University of Maryland; taste and sensitivity; superb control of pitch and vibrato; and a gift for inventing delightfully improvised lines that remind one of Ella Fitzgerald’s brilliant scat singing at its best.

As a valentine to a golden age of American songwriting and singing, Lena has chosen nearly a dozen of her favorite vintage songs, with an emphasis on material recorded by Ethel Waters, Billie Holiday, or Ella Fitzgerald, but not often performed today. Encompassing a range of tempos and emotions, the songs were composed between 1918 and 1939, plus one outlier from 1950. To accompany her, she assembled a quartet of top musicians, including pianist Chris Grasso, himself an improviser of singable melody lines.

To single out several gems: Irving Berlin wrote Suppertime for Ethel Waters to sing in the 1933 revue As Thousands Cheer. Stretching across gender and color lines, Berlin’s lyrics give voice to an African American wife and mother who has just lost her husband to a lynching. Accompanied only by Chris Grasso’s pensive piano, Lena sings the melody virtually straight, delivering the understated ¬lyric with controlled yet palpable emotion and poignancy, holding the last note a full ten aching seconds. Duke Ellington’s Love You Madly surprises as a delightful duet with bassist Zack Pride. Another highlight, After You’ve Gone, closes the album with infectious scat singing and a big exclamation point, a fitting finale for this bouquet to a bygone era.

-- John Edward Hasse
John Edward Hasse is Curator of American Music at the Smithsonian’s National Museum of American History, and founder of Jazz Appreciation Month. His books include Beyond Category: The Life and Genius of Duke Ellington and Discover Jazz.

Looking Back

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Wendy Zaro & The Laura Caviani Trio - Fly Home Little Heart

Size: 103,8 MB
Time: 44:36
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Crossover Jazz
Art: Front

01. A Very Precious Love (3:16)
02. Not While I'm Around (4:12)
03. This Love Of Mine (4:01)
04. Fly Home Little Heart (4:00)
05. No One Is Alone (3:41)
06. While My Guitar Gently Weeps (5:03)
07. Bring Him Home (3:49)
08. For You There Is No Song (3:52)
09. In My Life (3:37)
10. How Could I Ever Know (3:39)
11. My Buddy - Old Friends (5:20)

A native born Californian, Wendy Zaro-Mullins has performed to audiences in Europe, Taiwan, and South and North America where critics have hailed her performances as "gripping" with "amazingly powerful vocals" which include a "lustrous robust sound" displaying a "simple, almost effortless, approach."

Zaro-Mullins' concert work includes solo appearances with symphonies throughout the country and abroad. Most recently, Wyoming audiences heard her sing the Verdi Requiem with the Wyoming Symphony and Chorus. She was been featured in Mahler's Second Symphony with the Wichita Symphony and Chorus, and Brahms’ German Requiem with the University of Missouri-Columbia Symphony and Chorus. Numerous appearances with the St. Joseph Symphony and Chorus of Missouri have led to performances of Britten's War Requiem, Verdi's Requiem Mass, and Barber's Summer of Knoxville, 1915. Zaro-Mullins premiered an American debut of Gorecki's Symphony No. 3 with the University of Kansas Symphony Orchestra as well as a performance of Beethoven's Ninth Symphony. While a guest of the Paraguayan National Symphony and Orchestra she performed Mendelssohn's Psalm 42 and numerous operatic arias. Minneapolis audiences have heard Zaro-Mullins sing Barber's Summer of Knoxville, 1915 with the Kenwood Orchestra as well as performances of operatic arias with the Symphony of the Lakes.

At home on the opera, music theatre, and concert stages, Zaro-Mullins' credits include San Francisco Opera, American Opera Center, and Eugene Opera. Roles performed by Zaro-Mullins include Fiordiligi in Cosi fan tutte, Susanna in Susanna, Mother in Amahl and the Night Visitors, Belinda in Dido and Aeneas, Mimi in La Boheme, Mrs. Nolan in The Medium, Pitti-sing in The Mikado, and Olga in The Merry Widow. Performing in the musical theatre genre, Zaro-Mullins has been featured in the roles of Lady Thiang in The King and I with the Eugene Musical Theatre, Maria and Antonia in The Man of La Mancha with the Coachlight Dinner Theatre in New York, and Iris in The Tempest at the Mark Taper Forum in Los Angelas. She has performed for several seasons with the Sacramento Music Circus in California.

Her chamber music includes international recitals with chamber series, encompassing Italy, Taiwan, South America and the USA, presenting the traditional and contemporary vocal repertoire. Zaro-Mullins' versatility can also be heard in the early music genre. For several years, she has performed with the Oregon Baroque Ensemble and with the Spencer Baroque Consort of Kansas.

A scholar and performer, Zaro-Mullins received her doctorate from the University of Oregon in vocal performance and pedagogy, completing her dissertation on the Jugendlieder of Alban Berg. This extensive research led to a premier CD recording of the complete Jugendlieder as well as The Seven Early Songs of Berg. Zaro-Mullins has taught on the faculties of the University of Oregon, Oregon State and Lane Community College in Eugene, North Central University in Minneapolis. St. Olaf College. She was Associate Professor of Voice at the University of Kansas and is currently holding that title at the University of Minnesota.

Zaro-Mullins earned her bachelor and master degrees from the University of Southern California. She attended the Juilliard School and the Conservatorio di G. Verdi in Milan, Italy. She was a member of the Los Angeles Civic Light Opera Workshop where she received extensive training in musical theatre performance. Zaro-Mullins adjudicates nationally at vocal competitions and conducts master classes on interpretation and vocal technique throughout the country. Her major teachers and coaches included Daniel Ferro, Gwendolyn Koldofsky, Exine Bailey, James Miller, Margaret Schaper, Natalie Limonik and Esther Andreas.

Fly Home Little Heart

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Paul Millns - Footsteps / Calling All Clowns

Album: Footsteps
Size: 137,8 MB
Time: 59:00
File: MP3 @ 320K/s
Released: 2001/2010
Styles: Pop/Rock, Blues
Art: Front

01. Old Enough (3:55)
02. Home for the Weekend (4:00)
03. World On Your Shoulders (4:48)
04. Poodle Avenue (3:56)
05. Gasoline Heart (4:08)
06. Wind from the East (5:44)
07. Another Sunset Ride (4:31)
08. Following Footsteps (3:39)
09. Happy Go Lucky Joe (3:31)
10. Saying It Back (3:38)
11. Who Can Really Tell (3:47)
12. What's She Doing Now (4:01)
13. Demolition Kid (2:47)
14. Halfway Happy Home (3:35)
15. Play On (2:54)

With his "Footsteps", Paul Millns has released a very special album: Friends and fans suggested to record a complete acoustic performance. The result surpasses all expectations. Paul’s captivating voice and his powerful piano playing create pearls of songs, whose intimate acoustic atmosphere come fully to the fore thanks to excellent recording technology. Paul Millns combines his roots in black American music with the gentleness of songwriters such as Randy Newman, Joni Mitchell or Bob Dylan. He is a song poet, who knows how to link the perfect telling of tales, dry humor and profound musicality. For fans of songs with great expressiveness, "Footsteps" is a must.

Footsteps

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Album: Calling All Clowns
Size: 102,5 MB
Time: 44:01
File: MP3 @ 320K/s
Released: 2010
Styles: Pop Rock, Blues
Art: Front

01. That Perfume (4:12)
02. Calling All Clowns (3:31)
03. Wheather Of The Heart (4:09)
04. Falling For You (4:10)
05. Put On A Sunny Hat (3:22)
06. The Moon Might Know (3:30)
07. Blame It On You (3:19)
08. London In The Rain (3:53)
09. The Way Of The World (3:46)
10. Homing In On You (4:15)
11. Slippery Sam (3:15)
12. My Funny Valentine (2:34)

The pianist and singer, who makes London his home, has an impressive catalogue of successful albums on his scoreboard. For German listeners, however, Paul Millns is most probably best known for his appearance in the ARD Rockpalast television program. On “Calling The Clowns”, this piano virtuoso with a craggy voice, relaxed timbre and pictorial language, takes a look at life’s vicissitudes. And he invites the listener in his unobtrusive, congenial and sensitive way to join in the experience – because Paul Millns is one of the last storytellers, which is what allows him to open people's hearts. Thanks to the support of a poised band, Millns has produced a very personal album featuring emotional ballads, animated piano tunes and thrilling rhythm and blues. Above all, however, with his “Calling All Clowns”, Paul Millns is addressing all those who are secretly clowns at heart.

Calling All Clowns

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Sarah DeLeo - I'm In Heaven Tonight

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 42:59
Size: 99,1 MB
Art: Front

(3:50)  1. Rockin' Robin
(3:59)  2. I Feel Pretty
(5:28)  3. I'm In Heaven Tonight
(5:28)  4. No Moon At All
(2:53)  5. On The Street Where You Live
(3:56)  6. Stolen Moments
(4:40)  7. Let It Rain
(2:39)  8. In The Cold, Cold Night
(4:40)  9. Sometimes I'm Happy
(5:22) 10. You're Getting To Be a Habit With Me

The Great American Songbook can be and often is overused when emerging vocalists put together a collection. What sets one apart from another is a little deviation picking standards that aren't covered ad nauseam, or creative arrangements. Sarah DeLeo tries both approaches with I'm in Heaven Tonight.  The New York-based DeLeo began singing at the age of nine and developed a love of jazz soon afterward. She has found inspiration from a variety of jazz and non-jazz artists, including Ella Fitzgerald, Sarah Vaughan, Linda Ronstadt and Stevie Wonder. Her primary accompanists are percussionist Mark Bordenet, with keyboard duties split between organist Brian Charette and pianist David Cook. Others who appear on selected tracks are Jay Collins on saxophone and flute, Chris Bergson on guitar, Fabio Morgera on trumpet and Gary Wang on bass. DeLeo delivers a bouncy take on the classic "Rockin' Robin," a delightful arrangement by Collins that puts a jazz spin to a vintage pop song. Collins' flute adds a touch of "bird in flight" to this groove.

Wang, Bordenet and Charette quietly bring up "No Moon at All"; DeLeo's voice is light, and her notes precise. Bergson contributes a mellow guitar solo, with the organ striking complementary chords throughout. Morgera joins the ensemble for "On the Street Where You Live." DeLeo feels happy as she sings of an amorous interest, with emotion that is infectious. Bordenet, Charette, Bergson and Wang play with vigor. Morgera performs a bouncy solo in the middle break. DeLeo's melody to Oliver Nelson's classic "Stolen Moments," to which she composed the lyrics, follows the original perfectly. Using her voice rather than another instrument sets this rendition apart from others, with Bergson and Collins soloing during the middle break.  DeLeo's approach makes I'm in Heaven Tonight unlike most tribute or cover albums, and with her crystal voice and strong supporting cast, it's got excellent repeat-play potential. ~ Woodrow Wilkins  

http://www.allaboutjazz.com/php/article.php?id=31906#.Uu6twbS1QwA

Personnel: Sarah DeLeo: vocals; Chris Bergson: guitar (1, 2, 4-7, 10); Mark Bordenet: percussion; Brian Charette: organ (1, 2, 4-6); Jay Collins: saxophone and flute (1, 6, 7, 10); David Cook: piano (3, 7, 9, 10); Fabio Morgera: trumpet (3, 5, 7); Gary Wang: bass (3, 7-10).

I'm In Heaven Tonight

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Ralph Sutton - Sweet Sue

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 61:03
Size: 140,3 MB
Art: Front + Back

( 8:03)  1. Moppin' And Boppin'
( 7:34)  2. Lounging At The Waldorf
( 3:13)  3. I'm Gonna Sit Right Down And Write Myself A Letter
( 5:48)  4. Yacht Club Swing
( 9:25)  5. Sweet Sue
( 4:32)  6. Black And Blue
( 5:44)  7. Tea For Two
( 5:58)  8. It's A Sin To Tell A Lie
(10:43)  9. Honeysuckle Rose

A number of notable pianists who mastered stride emerged during the second half of the 20th century, but Ralph Sutton surely ranks among the top echelon, as proven on this live date focusing exclusively on music written and/or recorded by the great Fats Waller. Sutton's swinging group includes trumpeter Jon-Erik Kellso, Brian Ogilvie (on tenor sax and clarinet), rhythm guitarist and humorous singer Marty Grosz, as well as bassist Dave Green and drummer Frank Capp. Sutton covers the obvious hits like the amusing "I'm Gonna Sit Right Down and Write Myself a Letter," the moody "Black and Blue," which features Ogilvie's strong tenor and Kellso's powerful horn as bookends before and after the leader's solo, as well as a lengthy but never dull jam of "Honeysuckle Rose; " but the less frequently played numbers are treasures of equal value. The driving "Moppin' and Boppin'," co-composed by Waller with Benny Carter for the soundtrack of Stormy Weather, the rollicking "Lounging at the Waldorf," and the easygoing "Yacht Club Swing" are all examples of how a fine composer's work benefits when played by masterful musicians. Sutton not only delivers consistently powerful and swinging solos but serves as the consummate accompanist to back other's solos, too. Warmly recommended. ~ Ken Dryden  

http://www.allmusic.com/album/sweet-sue-mw0000063519

Sweet Sue

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Barney Wilen Quintet - Passione

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 60:18
Size: 138,9 MB
Art: Front

( 6:36)  1. Jitterbag Waltz
(10:01)  2. My Ship
( 4:53)  3. Line For Lyons
( 5:06)  4. Estate
( 7:07)  5. Venetian Rumba
( 5:26)  6. Passione
( 2:37)  7. Begonia
( 7:23)  8. Besame Mucho
( 4:10)  9. Bella Chao
( 6:30) 10. I Cover The Waterfront
( 0:24) 11. Al Herraz

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey  Bio - http://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel:  Barney Wilen tenor & alto, soprano saxophones; Enrico Rava trumpet;  Alain Jean-Marie piano;  Gilles Natural bass;  Philippe Soirat drums

Passione

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Tape Five - Tonight Josephine!

Styles: Swing
Year: 2010
File: MP3@320K/s
Time: 48:59
Size: 113,0 MB
Art: Front + Back

(0:22)  1. Introduction Back In Time
(3:54)  2. A Cool Cat In Town (feat. Brenda Boykin)
(4:17)  3. Bad Boy Good Man (feat. Henrik Wager)
(3:42)  4. Pantaloons (feat. Yuliet Topaz)
(3:48)  5. Dixie Biscuit (feat. Henrik Wager)
(3:42)  6. Madame Coquette (feat. Yuliet Topaz)
(4:04)  7. Far Far Away Charles Tone (Charles-Tone mix feat. Brenda Boykin)
(0:32)  8. Intermezzo Speakeasy
(3:43)  9. The Flappers Delight (feat. Yuliet Topaz)
(4:19) 10. Birds Like It (feat. Iain Mackenzie)
(4:01) 11. Pousse L'Amour (feat. Yuliet Topaz)
(3:40) 12. The Smurf (Tape Five Remix instr.)
(4:09) 13. The Sky Is Not The Limit (feat. Iain Mackenzie)
(4:38) 14. Alcazar (instr.)

Tape Five is a multinational music project from Germany, founded in 2003 by songwriter/producer Martin Strathausen producing music in various styles like Swing, Electro Swing, Nujazz, Latin, Lounge, Dub, Trip Hop, Chill-out and Electro. While their first two albums contained Lounge, Nujazz, Swing and Latin, Tape Five took the influences of the electro-swing movement with their 3rd album,Tonight Josephine“ (2010). Tape Five co-operates with several record companies worldwide.

And the film goes on! Driving Electro-Swing action with 'Oscar feeling' conversations of clarinet and trumpet inspired by Louis Armstrong, Gene Krupa, Josephine Baker and Benny Goodman. The 3rd album from TAPE FIVE 'Tonight Josephine!' is another Retro-Homage to various facets from the 20th Century bar-music. Stop Press! The first half of the album is deeply inspired by the Golden Twenties. High calibre and style, like a black-and-white classic film, but coloured and varied like today's block-busters. Four different vocalists - Brenda Boykin, Iain Mackenzie, Henrik Wagner and Yuliet Topaz interpret new songs in the old styles. ~ Editorial Reviews  http://www.amazon.com/Tonight-Josephine-Tape-Five/dp/B0032W7CQI

Tonight Josephine!

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Dee Bell - Sagacious Grace

Size: 113,6 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Front

01. Watch What Happens (5:16)
02. You Can't Go Home Again (5:37)
03. Dear Bix (3:38)
04. You're My Thrill (5:38)
05. Isfahan (6:00)
06. I Remember You (3:41)
07. Comes Love (5:17)
08. The Peacocks (5:03)
09. If Dreams Come True (3:47)
10. I'll Never Be The Same (5:13)

Praised by critics both abroad and in the United States for her “gorgeous phrasing” and “clear and easy delivery (Stereo Review)” of the lyrics of a song, West Coast diva Dee Bell again delivers her warmth, clarity, and impeccable intonation on Sagacious Grace, her first release for the Laser label. “She knows just how to bring the best out in a song. She does her own thing; lazy, hazy, smoky singing (Jazz Journal, England).” Dee’s Concord Jazz recordings with Stan Getz, Eddie Duran and Tom Harrell made the jazz world “sit up and listen (Jesse Hamlin, SF Jazz Critic)” garnering top twenty rotations on the jazz charts.

With this latest release dedicated to the late pianist, Al Plank, there are three songs with Dee’s original lyrics and two that she has arranged. The swinging, elegant pianist influenced the balance of the riveting musical adaptations on this CD. Al was a major part of the San Francisco jazz scene for over 40 years, following an earlier musical career with the Mastersounds (the Montgomery brothers: Wes, Monk, and Buddy), as well as time on stage with Woody Herman, Chet Baker and Anita O’Day.

Houston Person on saxophone, John Stowell on guitar, and Michael Spiro on percussion round out a stellar roster of the Bay Area’s top musicians on this long-awaited CD. Interpreted with heartfelt nuances, this beautiful and diverse collection of songs will provide hours of entertainment for your delight.

Sagacious Grace

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Bob Dorough - Eulalia

Size: 108,0 MB
Time: 46:27
File: MP3 @ 320K/s
Released: 2014
Styles: Bebop, Vocal Jazz
Art: Front

01. Eulalia (Feat. Aralee) (3:40)
02. Love (Webster's Dictionary) (Feat. Aralee) (7:14)
03. Whatever Happened To Love Songs (Feat. Aralee) (5:16)
04. But For Now (Feat. Aralee) (4:50)
05. To Be Or Not To Be (Feat. Aralee) (8:00)
06. I've Got Just About Everything (Feat. Aralee (7:32)
07. A Few Days Of Glory (Feat. Aralee) (5:47)
08. Consummation (Feat. Aralee) (0:36)
09. Eulalia Reprise (Feat. Aralee) (3:27)

Pianist Bob Dorough is to the jazz repertoire what Loretta Lynn is to country music. Trained in jazz piano, Dorough is best known for his role as the music director of a national project in 1971, assigned to set the multiplication table to music which grew into the popular Saturday morning cartoon series Schoolhouse Rock. Some forty years later, Dorough maintains an infectious sprint in the cadence of his keys and a heartland-tempered twang in his vocal register. He puts all of himself into his music from the raw, craggy continence of his vocals to the polished, buoyant rustling of his keys.

A fusion of scripted chord movements and improvised phrasing, Dorough's latest release Eulalia from Merry Lane Records emphasizes the elasticity of the instruments and the keen reciprocation of the musicians on board to play off of one another. Dorough and his daughter Aralee demonstrate such active and reactive prowess between the piano and flute in the title track. The curvature of Aralee's flute gives the track shape and an organic texture while the keys incubate the piece in a sheath of bliss. The rippling waves of Thomas Hultén's trombone through "But For Now" pervade a Cab Calloway vibe supplemented by the sprinkling flare of the keys. The swinging romper "I've Got Just About Everything" is wreathe in the tweeting vibrations of the horns resonating a nostalgic glow that's reminiscent of Hoagy Carmichael, and counter-balanced by the spiritual ruminations of "A Few Days of Glory" featuring the soaring vocals of Tammie Bradley and the bluesy hues of the saxophone.

Pulsating with modern virility and wielding the crisp interplay of vintage bebop, Eulalia partners free-style with formulaic chord patterns harking back to the approach taken by the architects of '50s jazz. Liken to the way country music comes naturally to Loretta Lynn, spindling jazz idioms comes naturally to Dorough. The rawness of Dorough's vocals combined with polished instrumentation make for a personalized recording. ~by Susan Frances

Musicians:
Bob Dorough - piano, vocals, and arrangements; Steve Gilmore - acoustic bass; Herman Matthews - drums; Phil Woods - alto sax; Aralee Dorough - flute; Dennis Dotson - trumpet; Thomas Hultén - trombone and tuba; Warren Sneed - tenor and soprano sax; Keith Vivens - electric bass (Tracks 3 & 7); Ray Wilson - guitar; Mike Mizma - vibes and pandeiro (Track 2); Gary Mitchell, Jr. - choirmaster, vocals & Hammond B3 (Track 7); Tammie Bradley - vocals (Track 7)

Eulalia

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Susanna Bartilla - Susanna Bartilla Chante Johnny Mercer - Live Au Sunside

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 56:26
Size: 131,2 MB
Art: Front

(4:52)  1. I'm Old Fashioned
(4:18)  2. Travelin' Light
(4:14)  3. Fools Rush In
(6:33)  4. Blues In The Night
(5:17)  5. My Shining Hour
(4:07)  6. PS I Love You/I Thought About You
(5:32)  7. One For My Baby
(5:35)  8. Goody Goody
(3:44)  9. Come Rain Or Come Shine
(4:32) 10. Skylark
(2:57) 11. The Summer Wind
(4:39) 12. Let's Take The Long Way Home

A Johnny Mercer lyric always comes across as something authentically by him, a part of his real person, as lived and experienced by him and us ! He always strikes the right balance between nostalgia and optimism, between tenderness and passion; genuine emotions that we all can relate to and that accompany us through life. And beyond that, a wonderful singer himself, he is a singer's lyricist. His ambition was to write “a song that everybody loves and all the artists can’t wait to sing and record it”. That never failed. Every vowel is in its perfect spot, the intricate, often interior rhymes fall into place naturally and the lyric hugs the music in a way that makes every tune a shere joy to sing. I prepared my centennial tribute for several years, choosing out of the hundreds of songs the two dozen I find I truely cannot do without. They range from some of his very early lyrics ("Goody Goody") to some of his last ones ("The Summer Wind"), from the very famous ("Autumn Leaves", "One for My Baby") to maybe lesser known pieces like "Let's Take the Long Way Home" or "My Shining Hour". Out of all this wealth, personal highlights of my tribute CD are "Blues in the Night", "Fools Rush In" and my alltime favourite "Skylark". 

Before I started recording, I felt I just had to go to Mercer's hometown to walk in his steps, see the places that inspired him and talk to his friends and family. In my imagination, Savannah already existed as a dreamland, where a blossom covered lane leads toward a meadowland on the banks of the Moon River ... But its reality, its loveliness and the warmth and friendliness of the people by far surpassed my imagination and spurred my inspiration. All the immediately evocative countryside images that Mercer conveys in his lyrics are romantic in the original sense of the word. As a Berlin native, I consider them on a par with the poetry written by the great German romantics, where landscapes and emotions reflect and influence each other. "Autumn Leaves" is to my mind on the same level of greatness as Rilke's famous "Herbstlied" ("Autumn Song"), and the love, lust and longing tumbling in a spin in "That Old Black Magic" are as compelling as in Goethe's masterpiece "Gretchen am Spinnrad" ("Margaret at the Spinning Wheel"). To Mercer, writing songs was “an exciting, stimulating experience like an adventure in love”, and that’s exactly how I feel singing those songs. It is always a great thrill for me to make the audience aware that one great poet wrote such a varied range of timeless words and I'm very happy to have contributed a little bit to the celebration of his centennial.  http://www.cdbaby.com/cd/susannabartilla2

Susanna Bartilla Chante Johnny Mercer - Live Au Sunside

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Carmen Cuesta - Mi Bossa Nova

Styles: Bossa Nova
Year: 2010
File: MP3@320K/s
Time: 43:13
Size: 99,4 MB
Art: Front

(3:02)  1. Triste
(4:16)  2. Fotografia
(5:06)  3. Retrato Em Branco E Prieto
(3:52)  4. O Barquinho
(3:26)  5. Pois
(4:43)  6. Jobim
(3:04)  7. Modinha
(3:21)  8. Tormenta
(4:00)  9. Manha De Carnival
(3:49) 10. Chega De Saudade
(4:29) 11. Meditacao

The Spanish singer Carmen Cuesta has long had a love for the music of Antonio Carlos Jobim and other bossa nova composers, though her earlier CDs have focused more on originals co-written with her husband, guitarist Chuck Loeb. But bossa nova reigns supreme on this 2011 release, with Loeb contributing well-produced backgrounds for Cuesta's fresh, pleasing alto voice. Initially she worked on translating the Portuguese lyrics into Spanish, only to be stymied by legal issues after she was well underway with her work. In any case, Cuesta is able to convey the elegance of these timeless melodies. Her vocals capture the longing of the lyric to "Retrato em Branco e Preto" in a heartfelt performance. Cuesta is equally sensual in her interpretation of "Meditaçao." Her flawless rendition of Luis Bonfá's "Manha de Carnaval" could easily be used in a film soundtrack. Cuesta and Loeb's daughters Christina and Lizzy are added on flutes for their mother's "Jobim," her warm tribute to her inspiration for this CD. Throughout the date, Chuck Loeb's orchestrations and acoustic guitar solos add to the beauty of Carmen Cuesta's performances. It's easy to understand why they enjoy making music together as documented in Mi Bossa Nova. ~ Ken Dryden  http://www.allmusic.com/album/mi-bossa-nova-mw0002112002

Mi Bossa Nova

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Ralph Sutton & Johnny Varro - A Pair Of Kings

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 72:50
Size: 166,8 MB
Art: Front

( 4:23)  1. Swing That Music
( 4:19)  2. All By Myself
( 5:56)  3. What Am I Here For
( 4:43)  4. St. Louis Blues
( 5:24)  5. Crazy Rhythm
( 6:18)  6. Tea For Two
( 5:07)  7. I Can't Give You Anything But Love
( 4:58)  8. It's You Or No One
( 4:33)  9. Oh, Lady, Be Good!
( 5:45) 10. Farewell Blues
( 6:15) 11. (Back Home Again In) Indiana
(15:03) 12. Fats Waller Medley: Say Yes / Ain't Misbehaven / Keeping Out Of Mischief Now / Stealin' Apples

Well, Arbors Records has done it again: well recorded jazz from its glory years, played today by the people who played it then. This 2001 album documents two of the most reliable of these players, with all the sophistication, excitement, and spontaneity of a live performance.

The late Ralph Sutton was born in Hamburg, Missouri in 1922 and played the piano virtually his entire life. He joined the Jack Teagarden Orchestra at age 19, a several-year gig that was interrupted when the U.S. Army called. He played with Bob Crosby in New York in 1966 and with the World’s Greatest Jazz Band until 1974. In 1979, he and Jay McShann did a cross-country tour that resulted in the album The Last of the Whorehouse Piano Players, memorable if for no other reason than its title. Influenced by James P. Johnson and Fats Waller, Sutton nonetheless clearly developed a sound of his own, with a powerful left hand and an excellent sense of rhythm and harmonics.

Johnny Varro was born in Brooklyn, New York in 1930 and played at the Central Plaza in New York City from 1946. At jam sessions on the Lower East Side, the young Varro met players of the era such as Willie “The Lion” Smith, “Big Sid” Catlett, Joe Thomas, “Hot Lips” Page, Joe Sullivan, Pete Brown, and others. After a stint in the Service, he toured with Bobby Hackett and often appeared at Nick’s and Eddie Condon’s, where he succeeded Sutton as intermission pianist. He ultimately became Condon’s band pianist, playing with and learning from a host of legends. In 1953 he moved to Miami Beach to work on the Jackie Gleason Show, subsequently touring the country and spending 14 years in Los Angeles. Now a resident of Tampa Bay, he records with his own Swing 7 and is featured as sideman on many Arbors CDs, as are bassist Phil Flanigan and drummer Ed Metz, Jr.  

This album was recorded in Fort Lauderdale, Florida; you’ll want to know that Sutton is on the left channel, and Varro is on the right, with good separation. Varro trios on Ellington’s “What Am I Here For?” and “It’s You or No One,” while Sutton returns the favor on “Tea for Two” and “Farewell Blues,” the latter as a solo. All tunes are standards, and if you can suppress the temptation to whistle or hum along, you have more self-control than myself. These two masters save the best till last; the “Fats Waller Medley” is more than 15 minutes of utter enjoyment. Sutton solos on “Say Yes,” the “other waltz,” while Varro solos on “Jitterbug”; both share choruses with each other and the rhythm section on the other selections. Both pianists segue smoothly and empathetically from tune to tune, and Flanigan and Metz trade tasty fours on the ninth chorus of “Stealin’ Apples.” This is the kind of CD that, as it begins to repeat, you think to yourself, “Well, I’ll be darned. How could 73 minutes of music have played that quickly and enjoyably?” ~ J.Robert Bragonier  

http://www.allaboutjazz.com/php/article.php?id=12486#.Uu6zKrS1QwA

Personnel: Ralph Sutton and Johnny Varro (piano), Phil Flanigan (bass), and Ed Metz, Jr. (drums)

A Pair Of Kings

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Mauri Sanchis - What Did You Expect?

Styles: Hammond Organ
Year: 2011
File: MP3@256K/s
Time: 49:34
Size: 104,6 MB
Art: Front

(5:18)  1. Nightmare
(4:22)  2. The Ninja
(6:28)  3. Lowdown
(4:36)  4. As For Me
(5:20)  5. Whisky Bob
(6:09)  6. Take Six
(5:29)  7. Groove Soup
(7:31)  8. In A Blue Mood
(4:16)  9. Guess What!

Absolutely new and risky approach to organ trio by Hammond Endorser Mauri Sanchis leading a set of innovative, transgressor and sometimes even aggresive tracks accompanied by Yamaha endorser Blas Fernandez on Drums and Gibson endorser Razl on guitar. http://www.cdbaby.com/cd/maurisanchis

What Did You Expect?

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Zizi Possi - Para Ingles Ver... E Ouvir

Size: 101,0 MB
Time: 43:43
File: MP3 @ 320K/s
Released: 2005
Styles: Pop Rock Vocals
Art: Front

01. Fly Me To The Moon (3:52)
02. Moon River (2:58)
03. The Very Thought Of You (3:10)
04. Dream A Little Dream (2:36)
05. Do You Wanna Dance (2:36)
06. I Don't Wanna Talk About It (3:03)
07. Redemption Song (3:24)
08. Ruby (3:37)
09. You Don't Know Me (3:59)
10. Love For Sale (2:54)
11. Come Together (3:02)
12. Unchain My Heart. (2:38)
13. Love Of My Life/Golden Slumbers/Carry That Weight/The End (5:48)

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

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

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

Para Ingles Ver... E Ouvir

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Carl Jackson - An Evening With Carl Jackson

Size: 124,4 MB
Time: 53:04
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Funk, Jazz Vocals
Art: Front

01. Grover's Prelude (0:49)
02. I'm Burning 4U (3:02)
03. Pass The Plate (2:16)
04. Old Friends (2:52)
05. Tenderly (2:29)
06. Kiss-Me (3:24)
07. Big City (2:20)
08. Loop 80 (3:04)
09. Comin 2U (3:26)
10. 101.1 (4:06)
11. You Are My Starship (3:32)
12. Dreams (3:32)
13. Last Night (3:49)
14. 92nd Street (3:32)
15. An Evening With Carl Jackson (3:43)
16. Tide Water Area (3:13)
17. Life Is But A Whisper (3:47)

Any info will be welcome.

An Evening With Carl Jackson

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Veronica Klaus & The Tammy L. Hall Quartet - Lee A La V: A Peggy Lee Songbook

Size: 121,8 MB
Time: 52:23
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I Love Being Here With You (3:30)
02. Close Your Eyes (5:07)
03. Moments Like This (4:01)
04. Wait'll It Happen To You (2:45)
05. I'm Gonna Go Fishin' (2:21)
06. He Needs Me (4:58)
07. I Lost My Sugar In Salt Lake City (4:36)
08. In The Days Of Our Love (4:53)
09. Some Cats Know (4:48)
10. Nobody's Heart Belongs To Me (3:38)
11. Rain Sometimes (4:24)
12. Why Don't You Do Right (5:45)
13. Don't Smoke In Bed (1:28)

The warmest thanks, gratitude and admiration, of course, go to Miss Peggy Lee. Her recording and writing career spanned much of the 20th Century and is a rich and varied catalog. These songs were either written, co-written or recorded by Peggy Lee in the years from 1942 to 1993 and are some of my favorites. We hope you enjoy!

Liner Notes from "Lee a la V - Veronica Klaus with the Tammy L. Hall Quartet - A Peggy Lee Songbook" by Robert Strom, author of "Miss Peggy Lee, A Career Chronology"

Here is Veronica Klaus singing songs that require a talented actress, seductive chanteuse and the abilities of a jazz singer. All of these skills are required because she is performing songs long associated with one of her favorite artists, Miss Peggy Lee. Happily for us, Veronica, like Peggy Lee, has all of these gifts and the talent to make familiar songs fresh, tasteful and intelligent.

She doesn’t set out to imitate Lee.. For how could she? Lee was so distinctly Lee; the approach, the deep-rooted sense of rhythm and the immediately recognizable voice. Veronica needn't copy these because she has her own distinct sense of self that shines through Peggy's music.

The savvy selection of material from Lee's vast catalog speaks volumes. Her choices supplying us with everything we need to evoke Peggy Lee’s images; the heartfelt He Needs Me, the slinky Some Cats Know, the blue-tinged regret of I Lost My Sugar In Salt Lake City, the glowing embers from In The Days Of Our Love and the ashes left behind by Don’t Smoke In Bed.

These selections, along with Close Your Eyes, Moments Like This, Wait Until It Happens to You, and the under-appreciated gem Nobody’s Heart Belongs to Me are fine for a start, but homage is also paid to Peggy Lee, the songwriter, by including I Love Being Here With You, I’m Gonna Go Fishin’ and the aforementioned In The Days Of Our Love.

On every song, in every mood and at every tempo, Veronica is beautifully supported by the Tammy L. Hall Quartet. Led by pianist Tammy L. Hall, the group works in a fashion similar to the quintet that accompanied Peggy for the last twenty years of her career. The word that best describes both of these groups is; cohesive. Four musicians blending in the same groove, so perfectly, that they sound like one unit. Each has moments to shine, and all do so with style.

Critic Rex Reed once wrote of Peggy Lee, “…[she’s] one of the greatest magicians a good song could ever wish for.” Good songs are wishing again, and just in time, because now they have Veronica Klaus to sing them. A new blond magician is weaving her spells. Spells ala V! ~Advance Review for "Lee a la V" by Steve Murray

Lee A La V

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Brenda Morie - Meant To Be

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 56:20
Size: 129,0 MB
Art: Front

(3:07)  1. I Could Write A Book
(4:38)  2. Moondance
(2:51)  3. Chitlins Con Carne
(3:52)  4. A Ghost OF A Chance
(3:18)  5. Twisted
(4:29)  6. Liberated Brother
(4:13)  7. Stolen Moments
(5:55)  8. Puzzle Of Hearts
(3:13)  9. Lullaby Of Birdland
(5:52) 10. Everytime He Whispers
(2:38) 11. Walk Between The Raindrops
(5:31) 12. Peace Chant
(6:37) 13. Black Orpheus Medley-A Day in

Brenda Morie - Savannah, Georgia, based flutist, vocalist, and musician has released her first solo CD, "Meant To Be".  For years Brenda's musicianship has graced recording and television performances in the US and Canada of noted artists such as, Ian Tyson, Tommy Banks, Chet McCracken, Ben Tucker and many more. Morie, a native of Canada, moved to Los Angeles, California, after being awarded a National Canadian Arts Council Grant spending the following years performing, recording, touring, and has even lent her voice to motion pictures. Brenda co-wrote and performed on several jazz CD's with Chet McCracken, platinum and two-time gold record winning and Grammy- nominated recording artist and former drummer in the Doobie Brothers and Joe Walsh. Two of these co-written recordings, "Through Brenda's Eyes" and "After The Rain", received national attention and the Mac Gavin Chart Hit list. Although many of Chet's recordings have been chart topping, "After The Rain" to date been one of McCracken's highest placements on the Jazz Charts. Morie and McCracken plan to begin a new collaboration project in the near future.  In 2000, Brenda completed a tour with Nancy Sinatra, playing acoustic, electric guitar, harmonica and flute which included sharing the stage with Rickie Martin and Blondie at Dodger Stadium in front of an audience of more than 50, 000 people. 

In Canada, Brenda was well known from numerous television appearances and specials particularly the internationally syndicated "The Tommy Banks Show" as well as the national 'Sun Country Show' hosted by Ian Tyson. She performed frequently with guitarist, Amos Garrett, known for his unique and infamous style on Maria Muldar's "Midnight At The Oasis". "Meant to Be", Brenda's solo CD, features the supporting performances of friends, old and new, from her days in Los Angeles coupled with the some of NC's best. Among these are Los Angeles's drummer and recording artist, Chet McCracken and lead guitarist, Chris Pinnick, formerly of "Chicago" as well as Herb Alpert and John Klemmer. North Carolina's well-known and respected "The Ken Rhodes Trio" consisting of keyboardist Ken Rhodes, bassist Matt Kendrick, and drummer John Wilson bring their smooth warmth to the project as well as Rhodes' compositional skill with "Peace Chant". Jazz trumpeter, Joe Robinson is featured on "Stolen Moments" and "Ghost of a Chance". His bittersweet performance on "Ghost of a Chance" brings a rich flavor to Brenda's own interpretation, making it one of the highlights on the CD. Brazilian guitarist, Paulo Barata, contributes to Brenda's version of, Djavan's, 'Puzzle of Hearts' along with Chris Pinnick's lead guitar and McCracken's drumming. Also contributing are conga, percussionist Roberto Orihuela, and film composer David McHugh (Mystic Pizza & Moscow On The Hudson). Brenda's "lead guitar-like" flute performance on "Liberated Brother" and Chitins Con Carne, shows the influence of her work with Garrett and Nancy Sinatra. 

The CD was recorded and produced by currently, Savannah College of Art and Design " Sound Design" professor, John Sisti whoose recent credits include Sound Supervisor on "Mad About You' which won two Emmy's for Best Sound, and "Bram Stocker's Dracula" which won an Oscar for Best Sound Mixing and Best Sound Editing. Before his film work, Sisti, was a recording engineer at several studios such as A&M Records and Record Plant with artist Joni Mitchell, George Harrison, Captain & Tennille ("Love Can Keep Us Together"), and Billy Preston (Nothing from Nothing) etc. John taught sound and production at Berkley School of Music in the mid 80's, and now as well as teaching at in the Film School has a small studio here, Granite Sound. At Granite Sound John has mixed the David McHugh's score for the Lifetime Series " Strong Medicine" and the soundtrack for the Gary Hawkin's Award winning documentary " The Rough South of Larry Brown", award winning Best Western, Truce, The Cavern and many more. Morie's distinctive flavor is established by the coupling of her smoky vocals along with the rich flute quality, a combination of the unique "wood head joint" and her diverse musical interpretation. This all blends to make exciting and entertaining jazz expressions articulated by the fortuitous combination of talents Brenda Morie embodies. http://www.cdbaby.com/cd/morie

Meant To Be

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