Friday, March 28, 2014

Willie Nelson - Nacogdoches

Styles: Country
Year: 2004
File: MP3@256K/s
Time: 39:22
Size: 73,2 MB
Art: Front

(2:49)  1. Please Don't Talk About Me When I'm Gone
(2:57)  2. A Dreamer's Holiday
(2:16)  3. Corine, Corina
(2:42)  4. Walkin' My Baby Back Home
(3:32)  5. To Each His Own
(3:05)  6. I'm Gonna Sit Right Down And Write Myself A Letter
(2:57)  7. Golden Earrings
(2:40)  8. Columbus Stockade Blues
(2:57)  9. I Can't Begin To Tell You
(3:50) 10. I'll String Along With You
(2:33) 11. I'm Beginning To See The Light
(2:34) 12. How High The Moon
(4:26) 13. Stardust

Profile of the iconic American troubadour, whose career as a muscian, actor and political activist has spanned five decades and has seen him collaborating with many of music's greats.

'Outlaw' country music star, songwriter, actor, author and philanthropist, there is little left for Willie Nelson to accomplish during his life-time. With an apparently open and affable character Nelson has always been, nevertheless, a somewhat guarded man. In interviews his natural manner glosses over much information and he reveals only as much, or rather as little, as he feels like. It has been suggested that this stems from his poor Texan childhood. Born 30 April 1933 in Abbott, Texas, then abandoned by his mother at only six months old, he and his older sister Bobbie were raised by their paternal grandparents. Despite the poverty which the family underwent during the Great Depression, Nelson and Bobbie were never deprived of music. They grew-up with Gospel, Country and of course Frank Sinatra. Nelson began scribbling poetry at the age of five and when he received his first guitar, aged six, he began to put his lyrics to music. Both he and Bobbie benefited from the knowledge of their musical grandparents. Sadly, when Nelson was still very young, his grandfather died, leaving a gaping hole in his life. Nelson used his talent and song-writing ability to translate his grief into music.

 It was this honesty and simplicity that would become an unwavering part of his style and character over the years, earning him devoted fans from all walks of life. By the age of 10 Nelson was playing his first gigs with a local polka band. Then when his sister married at the age of 16 both Nelson and Bobbie joined her husband Bud Fletcher's band. Playing local dances and even on the radio Nelson stood out from the rest of the band. So much so that by the time he was 14 he had his own fan-club. After graduating from high school and a short stint in the Air Force, Nelson found himself married with three kids before he reached 25. Broke and with a family to support Nelson took to the road to try and find jobs. Working at radio stations and performing in local clubs the family struggled to pay the rent, often having to up and leave in the middle of the night to avoid the landlords. It was during these difficult years that Nelson sold his first song to keep his family afloat. 'Family Bible', now a country classic, was sold for the sum of $50. With one hit under his belt Nelson was convinced he could write more. Two of his most famous songs, 'Crazy' and 'Nightlife' were written at the wheel of his car driving to and from gigs in Houston, Texas. 

While working in a radio station in Vancouver, Washington, Nelson often performed on air. It was here that he met song-writer and promoter Mae Axton. She advised him to take his songs back with him to Texas or Tennessee and play amongst his peers. Nelson headed for Nashville where he found a music scene that was not quite ready for him. Ahead of his time, Nelson did not conform to the local 'Nashville Sound' and finding gigs became difficult. With little success as a performer Nelson continued to write songs eventually finding himself as a popular regular at Tootsie's, the hangout of the local songwriters....More... http://www.thebiographychannel.co.uk/biographies/willie-nelson.html

Thursday, March 27, 2014

Elisa Fiorillo - Labor Of Love

Size: 92,1 MB
Time: 39:32
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz: Vocals
Art: Front

01. Mood For A Melody (3:32)
02. Everything Happens For A Reason (4:10)
03. Bun In The Oven (3:01)
04. Reminiscing (4:51)
05. Hip Hop Skip (3:59)
06. Singing My Song (4:08)
07. Good Lovin' (3:31)
08. Oak Tree (3:31)
09. Loving You (5:09)
10. All The Way (3:37)

An ebullient new Jazz voice with an artistry and style reminiscent of the classic Jazz divas of yesteryear. Singer, composer, producer Elisa Fiorillo and composer, producer Nyalle Iameh proudly present 9 original compositions on the CD “Labor Of Love”. The album was recorded when Elisa was pregnant with her first child “Olivia”. The album was truly a labor of love. Talented musicians, great songs, one great cover of “All The Way” and the spectacular singing voice of Elisa…how can you go wrong? Purchase “Labor of Love” by clicking on the link below and get ready to dive into the new “not so standards” of today!

Labor Of Love

Hadley Caliman - Straight Ahead

Size: 91,1 MB
Time: 39:06
File: MP3 @ 320K/s
Released: 2009
Styles: Modern Jazz
Art: Front

01. Cigar Eddie (5:48)
02. Rapture (5:57)
03. You Leave Me Breathless (6:28)
04. Cathlamet (4:53)
05. Blues For Pt (3:14)
06. Lush Life (3:24)
07. Totem Pole (4:47)
08. The Night Has A Thousand Eyes (4:31)

Seattle-based saxophonist Hadley Caliman returns to the recording studio with his working band for Straight Ahead, the follow-up to his superb Gratitude (Origin, 2008). Aided by trumpeter/producer Thomas Marriott, pianist Eric Verlinde, bassist Phil Sparks and drummer Matt Jorgensen, the 78-year old Caliman charges head-on through a set of standards, jazz classics and original gems.

The disc opens with the listener-friendly "Cigar Eddie," an old school boogaloo—Caliman wrote the tune in the 1960s while living in Los Angeles—with a sly melodic line and ultra-funky groove. The clever toe tapper features brief, to-the-point blowing from Caliman, Marriott and Verlinde. Harold Land's quasi Afro-Cuban piece "Rapture" follows with even more high energy accessibility; inspired, compact solos bookended by a straightforward theme.

There is a consistent flow of lyricism from Caliman's horn on the session's two ballads, "You Leave Me Breathless" and "Lush Life." The leader handles these two harmonically-rich gems with the kind of seasoned finesse to be expected from a dedicated veteran of jazz service. Adding to these exceptional ballad performances is Verlinde's sensitive, swinging piano accompaniment.

Vibraphonist Joe Locke, who appeared on Gratitude, contributes "Blues for PT," a hard driving minor blues that finds Marriott and Verlinde in top form. The up-tempo swinger stands out as a disc highlight. Lee Morgan's "Totem Pole" is done in similar fashion to the original 1963 recording of the tune from The Sidewinder (Blue Note). Here, Caliman matches his bold tenor tone with stylized wit, recalling the hip quirkiness of Joe Henderson.

A spirited run down of "The Night Has a Thousand Eyes" closes out the proceedings with Caliman flying effortlessly through the familiar jam session staple, propelled by Jorgensen's swinging drums and Sparks rock-solid bass. The ensemble's energy is inexorable and, as the disc's title proclaims, undeniably straight-ahead. ~John Barron

Straight Ahead

Sophie Darly - Twelve Secrets Of A Lady

Size: 111,7 MB
Time: 47:44
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Vocals
Art: Front

01. Rags And Old Iron (Feat. Airelle Besson) (4:42)
02. People Make The World Go Round (Feat. Pierre Desassis) (4:06)
03. Amazing Grace (4:39)
04. Where Is The Love (4:26)
05. Flying Easy (4:49)
06. Who Is She (And What Is She To You) (2:50)
07. What Becomes Of The Broken Hearted (3:44)
08. Brother Where Are You (3:36)
09. Baby Love (4:12)
10. No Stranger Am I (3:52)
11. Nobody's Fault But Mine (2:43)
12. Don't Make Me Over (4:00)

3 ans après l’album Soul Game, salué par la presse (Télérama, Jazzman-Jazzmag, SoulBag…), Sophie Darly présentera cet automne son nouvel opus « Twelve Secrets of a Lady » : 12 titres, une musique soul et jazzy puisée dans le répertoire sixties de Dusty Springfield, Roberta Flack, Oscar Brown Jr…, de beaux arrangements, des mélodies envoûtantes et une voix chaleureuse qui vient nous parler de manière très personnelle de vies, d’amours, de blessures, de rêves, de secrets…de Femme.
Twelve Secrets of a Lady est un hommage à ces femmes transcendées et magnifiées par une musique soul qui ne saurait exister sans elles...

Personnel:
Sophie Darly (voix)
Arnaud Gransac (piano)
Sébastien Maire (contrebasse)
Julien Jolly (batterie)
Invités: Airelle Besson (trompette) et Pierre Desassis (saxophone)

Twelve Secrets Of A Lady

Ilya Yeresko & Organic Formation - The Beginning

Size: 169,7 MB
Time: 73:32
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ
Art: Front

01. Mysterious Map (6:56)
02. Sundown (7:17)
03. Science (6:09)
04. The Bright Side (5:10)
05. The Hero Must Live (8:20)
06. Safe Trip (5:14)
07. Bird King (4:47)
08. You'll Never Find Me (4:42)
09. The Great River (4:15)
10. The Ring (7:08)
11. Underworld Games (6:25)
12. Adoration (7:05)

Jazz organ quartet that combines tradition and modern approach.

The Beginning

Cindy Scott - Historia

Size: 128,6 MB
Time: 55:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals
Art: Front

01. Shaw 'nuff (4:20)
02. There Is No Greater Love (5:29)
03. What's Comin' Atcha (3:57)
04. Historia De Un Amor (7:37)
05. It's Gonna Be Okay (4:21)
06. Turnaround (Feat. Karrin Allyson) (3:40)
07. Look For The Silver Lining (3:15)
08. Laura Lee (5:14)
09. Shenandoah (4:02)
10. I Concentrate On You (5:45)
11. Silence Of The Stars (O Silencio Das Estrelas) (4:29)
12. Some Of That Sunshine (Feat. Karrin Allyson) (3:10)

Stating the obvious right off, vocalist Cindy Scott is from New Orleans. This fact thoroughly and three-dimensionally informs the twelve selections on Historia, Scott's follow-up to Let The Devil Take Tomorrow (Catahoula Records, 2009), without making a burden of it. In subtle and not-so-subtle ways, the aural aroma of the Crescent City appears like an essence, that hyperdistillation that leaves neither finger nor footprint but exists as an indelible mark on the music readily recognised. This mark is made audible immediately in Scott's arrangement (with her lyrics) of the Gillespie/Parker shot- over-the-bow, "Shaw 'Nuff." Looking at that title makes it all too easy to expect an Eddie Jefferson or even Bob Dorough sliced bebop.

What curls from the speakers is something else altogether. A French- Quarter- Sunday-Afternoon march is established by drummer Jamison Ross and perpetuated by pianist Randy Porter channelling Professor Longhair. Guitarist Brian Seeger reaches down deep into the blues and shows where Bo Diddley came from. Scott sings of taking chances to learn, stretching beyond one's conception into that next creative place. Scott makes breezy "No Greater Love," pulling the piece from the dusty silver service of standards. She blow the soot off the classic, polishing it to a high and complex Creole sheen. Porter plays a eutection of impressionistic stride and Antoine Domino- left hand magic against Ross' shimmering cymbals and Scotts wordless song.

On the nominal title cut, "Historia de un Amor," Scott waxes darkly over an earth-pulse played by bassist Dan Loomis. Seeger seasons the piece with electric guitar cries in the extended introduction and then when Scott gets her Spanish on, leading up to Seeger's craggy and urgent solo, overdriven and cutting. Scott picks up and completes this urgent ache, completing the piece as a humid Caribbean tone poem. Scott penned the English lyrics. The original "It's Gonna Be Okay" ia a cross-over dream, a song of certain hope that would be as at home in the modern country realm as it is here, full of Louisiana and sunshine.

"Look at the Silver Lining" and "Shenandoah" are so completely transformed they become a celebration of all that jazz is in its absolute exegesis. In both songs, Scott winds up and throws a wicked curve ball. The former is taken up-tempo and is perhaps the most "jazzy" of all of the selections. The latter is made even more pastoral than the original by its slower tempo amid bass harmonics and Scott's rich flute playing. Scott duets with Karrin Allyson on "Some of that Sunshine" providing an upbeat and inclusive end to a very fine recording indeed.~Review by C. Michael Bailey

Personnel: Cindy Scott: vocals; Randy Porter: piano; Dan Loomis: bass; Jamison Ross: drums; Brian Seeger: guitar (1, 4, 5); Shannon Powell: percussion; Evan Christopher: clarinet (11); Karrin Allyson: vocals (12).

Historia

Kate Reid - Sentimental Mood

Styles: Piano And Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 57:47
Size: 133,7 MB
Art: Front

(4:59)  1. I Thought About You
(4:36)  2. Quiet Nights Of Quiet Stars
(3:40)  3. Lush Life
(3:41)  4. Let's Do It/Let's Fall In Love
(4:05)  5. Dreamer
(8:18)  6. Too Late Now
(4:53)  7. I Can't Believe You're In Love With Me
(3:12)  8. Only Trust Your Heart
(5:47)  9. In A Sentimental Mood
(5:11) 10. Out Of This World
(4:22) 11. Nothing Is Too Wonderful
(4:58) 12. The Face I Love

Pianist and vocalist Kate Reid is the latest singer to present music from The Great American Songbook, covered by so many others over the years. Blessed with a rich alto voice and being a consummate pianist to boot, Reid puts her own unique spin to a selection of oft-heard standards. Sentimental Mood benefits from a fine cast of Los Angeles musicians, among them guitarist Ron Eschete and saxophonist Ernie Watts, who plays sparingly here. Also performing with the singer is trumpeter and husband Steve Reid.  Unlike some jazz vocal recordings where the instrumentals play a major role in the music, Reid's vocals dominate the album, pushing the other musicians to the background. This is rhythm-based music where the piano, bass, guitar and drums provide the majority of the support. 

The music here is clearly designed to appeal to one's softer side, beginning with Van Heusen/Mercer's "I Thought About You" and offering others like Billy Strayhorn's "Lush Life," and Cole Porter's "Let's Do It/Let's Fall In Love," which set the mood here and it's all sentimental. Reid is particularly enjoyable with splendid interpretations of Jobim's "Dreamer" and "Too Late Now," two of the softer and mellow songs on the disc. She ends on a high note with "The Face I Love," the best pick-up tune and the only one featuring Watts' dazzling saxophone, with whom Reid shares the stage on a wonderful closer and departure from the theme of the album. With a doctorate degree in Jazz Performance, Reid's Sentimental Mood is just the kind of musical medicine to cure that moody feeling, providing a jazzy prescription of sentimental love songs to soothe the tender heart. ~ Edward Blanco   
http://www.allaboutjazz.com/php/article.php?id=30692#.UzD7XYUqPro 
Personnel: Kate Reid: piano and vocals; Steve Reid: trumpet; Steve Barnes: drums; Chris Conner: bass; Ron Eschete: guitar; Ernie Watts: tenor saxophone.

Sentimental Mood

Laverne Butler - Blues in the City

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 59:27
Size: 136,6 MB
Art: Front + Back

(3:21)  1. This Bitter Earth
(4:29)  2. Please Send Me Someone To Love
(2:47)  3. Hit The Road Jack
(5:42)  4. Willow Weep For Me
(3:32)  5. The Blues Are Out Of Town
(6:06)  6. One For My Baby
(6:22)  7. Late Sunday Afternoon
(5:04)  8. I'm A Fool To Want You
(4:30)  9. Born To Be Blue
(3:54) 10. Don't Let The Sun Catch You Crying
(4:20) 11. All That I Know
(4:43) 12. Since I Fell For You
(4:30) 13. Backwater Blues

In the Tradition. Was Bessie Smith a “blues singer” or a “jazz singer”? What about Dinah Washington? Billie Holiday is an easier case. She recorded only two true twelve bar blues songs. But these other artists? They are not so easy. So with the case of LaVerne Butler. The music on Blues In The City is that seductive hybrid existing where the edges of barroom blues and high-style jazz begin to dissolve into one another, creating an aural taste and aroma that is at once sophisticated and earthy. This is a disc that remains firmly (and comfortably) in the middle of that intersection where popular music, jazz and blues kiss.  Influences. Colleagues have opined that Ms. Butler sounds like a pop Dinah or blue Billie. I think she is a female Sinatra. Her repertoire on this disc includes the Sinatra classics “One More for the Road” and “Willow Weep for Me”. 

Her phrasing is simple and lean in a thoughtful way, like the Chairman’s. Her delivery is in all good taste. There are no scat pyrotechnics. No, this is not Butler’s style. Instead, she concentrates on the nuances. Caressing syllables and rests in a sensuous way that is never cheap always tasteful and refined. This disc is populated with work-horse standards made fresh by Butler’s spare approach. The only possible quibble would be the inclusion of background vocalists, who detract from Butler’s authoritative delivery. Then again, the songs are all fun because of their inclusion. A sexy “Hit The Road Jack” is the disc highlight. The supporting trio is very fine delivering smart, understate solos that perfectly match Butler’s overall approach. This is not music of reverence, it is music of practice. Blues In The City is a pragmatic release illustrating how this music is supposed to sound. ~ Michael G. Nastos   
http://www.allaboutjazz.com/php/article.php?id=4031#.UzBeVoUqPro
Personnel: LaVerne Butler: Vocals: Bruce Barth: Piano; John Webber, Bass; Klaus Suonsaari: Drums; Ava Burton and Janet Givens: Background Vocals

Blues in the City

Jack Jezzro With The Beegie Adair Trio - Jazz On Broadway

Styles: Guitar And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 47:00
Size: 108,9 MB
Art: Front

(3:14)  1. Hello Dolly! (Hello Dolly)
(4:01)  2. On The Street Where You Live (My Fair Lady)
(4:35)  3. Some Enchanted Evening (South Pacific)
(3:24)  4. Anything Goes (Anything Goes)
(3:16)  5. They Say It's Wonderful (Annie Get Your Gun)
(3:10)  6. Matchmaker, Matchmaker (Fiddler On The Roof)
(4:58)  7. Summertime (Porgy And Bess)
(4:12)  8. If Ever I Would Leave You (Camelot)
(3:45)  9. I Got Rhythm (Girl Crazy)
(4:53) 10. If I Loved You (Carousel)
(3:29) 11. Hello, Young Lovers (The King And I)
(3:57) 12. Somewhere (West Side Story)

Jazz on Broadway features guitarist Jack Jezzro and the Beegie Adair piano trio performing a nice selection of standards from classic Broadway musicals. Included are songs from such shows as My Fair Lady, Anything Goes, South Pacific, Hello Dolly, and others. This is a warm, romantic album with an urbane, relaxed vibe perfect for intimate dinners and afterglow situations. http://www.allmusic.com/album/jazz-on-broadway-mw0001026181.

Personnel: Jack Jezzro (guitar); Beegie Adair (piano); Chris Brown (drums).

Bernd Lhotzky And Chris Hopkins - Tandem

Styles: Dixieland/New Orleans/Swing
Year: 2008
File: MP3@320K/s
Time: 55:15
Size: 126,6 MB
Art: Front

(3:28)  1. Shake It And Break It
(3:23)  2. I Adore You
(3:08)  3. Everything I've Got Belongs To You
(4:18)  4. Warm Valley
(3:45)  5. Finger Buster
(4:41)  6. Black And Tan Fantasy
(3:15)  7. You Do Something To Me
(3:00)  8. Flashes
(3:42)  9. I've Got My Love to Keep Me Warm
(3:12) 10. Sweet And Slow
(2:40) 11. I Wish I Were Twins
(5:24) 12. Lullaby Of The Leaves
(3:23) 13. Armand The Groove
(4:21) 14. J. Fred Coots-Medley: Louisiana Fairytale* + The More I Know You**
(3:31) 15. Bess, You Is My Woman Now (from "Porgy And Bess")

Making a successful piano duet recording is a challenge. In addition to the performance, there is the issue of the recording process: getting the mix right and capturing both instruments with clarity. This is not an easy thing to do, as the evidence of many poorly recorded piano duets will attest. In addition, there's the task of pacing, which is a considerable challenge with the sound of two pianos. Such duet recordings often have a frenetic dueling pianos feel, which quickly gets old. The good news about Tandem is that it's beautifully recorded, well paced, and displays the inspired performances of two excellent pianists. Pianists Chris Hopkins and Bernd Lhotzky are not just notable soloists. They also accompany each other with an intuitive sense of nuance and a sophisticated sense of musical taste. They focus on standards from the '20s to the '40s by the likes of Duke Ellington, Willie "The Lion Smith, Cole Porter, Richard Rodgers, Bix Beiderbecke, the Gershwins and other great songwriters of the age. 

This is traditional jazz, and these two pianists are extremely comfortable in this world. Arbors Jazz fans will recognize Chris Hopkins as a label regular. Anyone who has heard him on record will not be surprised by the mastery he demonstrates on Tandem. Lhotzky, an apt musical match for Hopkins, has recently released a solo recording on Arbors. Both players were raised in Germany and have a special affinity for stride and swing piano. Both are building considerable international reputations, which Tandem will undoubtedly enhance. Some of the best tracks on this consistently fine recording are breathtakingly graceful and complex stride piano duets. The musical rapport is a delight. If you're a traditional jazz fan, and especially a piano jazz fan, this is a recording not to miss. 
~ Mike Neely   http://www.allaboutjazz.com/php/article.php?id=23191#.UzDKAYUqPro
 
Personnel: Bernd Lhotzky, Chris Hopkins: piano.

Wednesday, March 26, 2014

Laura Taylor - Cry Me a River

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 52:28
Size: 124,5 MB
Scans:

(4:20)  1. Gone With the Wind
(3:26)  2. What Is This Thing Called Love
(4:37)  3. How Long Has This Been Going On
(3:05)  4. No Moon At All
(3:05)  5. I Love You
(5:06)  6. Blue Moon
(2:36)  7. Easy Street
(4:14)  8. Cry Me a River
(3:11)  9. I'm in the Mood for Love
(4:49) 10. Julie
(2:14) 11. The One I Love Belongs to Somebody Else
(4:55) 12. I'm Glad There Is You
(2:55) 13. Can't Help Lovin' That Man of Mine
(3:48) 14. Swonderful

From tiny acorns, mighty oaks may grow. Such might describe this project, to feature Laura Taylor in renditions of some of the beautiful songs done in such a sensual style by Julie London. The acorn, or thought, was dropped as a suggestion, that Laura’s voice and style (not to mention looks!) might complement the styling which caused so many college boys to swoon in the 50’s and 60’s (My older brother had the albums: Julie Is Her Name, Vol 1, with Barney Kessel-guitar, Ray Leatherwood-bass, 1955; Julie Is Her Name, Vol 2, with Howard Roberts-guitar, Red Mitchell-bass, 1958, both by Liberty Records). And so the memories of Blue Moon, S ‘Wonderful, Can’t Help Lovin’ That Man of Mine, and the incomparable version of Cry Me a River flashed into warm recollections of October nights on campus and fireside listening sessions on coveted 33-rpm LPs (which had only appeared in 1951).

Laura’s notable collaborations with close friend and very talented guitarist Joe Lano (see: Mountain Greenery, Songs of the Winter Season, etc.) prompted an admirer, Doctor Howard Hoffman, to suggest that the Julie London/Barney Kessel recordings would be a natural for the two of them. Howard, like many others, was under the impression that Kessel was the only guitarist on these two famous recordings. Kessel was, in fact, guitarist on Julie is Her Name, Vol. 1, which included Cry Me a River, but the very talented (though perhaps lesser known) Howard Roberts did the Julie is Her Name, Vol. 2, recording that, according to Joe, had many guitarists rushing to emulate what Roberts had done. Laura and Joe began listening to those wonderful recordings to decide whether to further pursue the idea. But the conclusion was easy-the songs fabulous and still timely, and the fit was right. Typical of their collaborations, Joe and Laura next met with guitar, piano, voice, pencils and score sheets to discuss song selection, key choices and arrangement concepts. Julie made so many fabulous recordings that priorities had to be established. In addition to Julie’s most famous recording, Cry Me a River, Laura and Joe needed to narrow the choices to songs which they could put their own signature on without compromising the original intent of the London-guitar-bass-renditions.

Laura and Joe started to work their usual magic! Some songs were done closely adhering to the original, while others received an entirely different approach. Joe suggested a bossa nova style for Gone With the Wind, a rhythm unknown in the U .S. in the 50's and Laura brought her bossa concept of I’m Glad There is You to the mix, based on an arrangement she conceived while playing and singing at The Mirage Hotel in Las Vegas. To my knowledge, I’m in the Mood for Love has never been recorded as a waltz, another concept Joe and Laura developed in the living room that eventful day. Each song, however, was approached with a respect for Julie’s original interpretation and the warmth and intimacy she created. And from the acorn, mighty oaks may grow!

Two more ingredients were needed to augment this project-the talents of recording engineer T-Bone Demman and his Sonsong’s Studio, where Joe and Laura had recorded two previous and wonderful CDs (see paragraph 2 above)-and one more musician. The instrumentation of Volumes 1 & 2 of Julie is Her Name was the same for both sessions- voice-guitar-bass. The Los Angeles-based Tom Warrington was the one to fill the bass chair. Tom’s articulate yet warm, full sound was the perfect complement to complete the project...   http://laurataylor.com/cry-me-a-river/

Personnel includes: Laura Taylor (vocals); Jay Lano (guitar); Tom Warrington (bass).

One For All - Killer Joe

Styles: Jazz, Post-Bop
Year: 2005
File: MP3@320K/s
Time: 61:35
Size: 148,6 MB
Art: Front

( 6:18)  1. Killer Joe
( 6:48)  2. Island
(11:06)  3. Night Mist Blues
( 6:53)  4. Mating Call
(10:33)  5. Hot Sake
( 6:24)  6. Say When
( 7:07)  7. I Remember Clifford
( 6:26)  8. You Know I Care

One for All has developed into one of the solid hard bop units, consisting of six talented New York-based musicians, most of whom have recorded a fair amount as individual leaders. With tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotundi in the front line, along with pianist David Hazeltine, bassist David Williams, and drummer Joe Farnsworth providing a great rhythm section, the sextet delves into decades-old gems like "Killer Joe," "Matin Call," and "I Remember Clifford" with authority. But such a band needs to come up with original material to stay fresh, so Alexander contributed the mellow, sauntering ballad "Island," which features superb interplay among the horns. Davis penned the driving"Hot Sake," which sounds like it would have been perfect fodder for Art Blakey's Jazz Messengers, or any hard bop band. Recommended. ~ Ken Dryden   
http://www.allmusic.com/album/killer-joe-mw0000673962.

Personnel: Eric Alexander (tenor saxophone); Jim Rotondi (trumpet); Steve Davis (trombone); David Hazeltine (piano); David Williams (double bass); Joe Farnsworth (drums).

Echoes Of Swing - Blue Pepper

Styles: Swing
Year: 2013
File: MP3@320K/s
Time: 52:54
Size: 121,4 MB
Art: Front

(3:07)  1. Blue Pepper
(3:45)  2. Azzurro
(3:12)  3. Blue Prelude
(4:00)  4. La Paloma Azul
(3:08)  5. Blue & Naughty
(4:03)  6. Blue Moon
(3:35)  7. Black Stick Blues
(3:30)  8. Blue River
(3:12)  9. Out Of The Blue
(3:44) 10. Aoi Sanmyaku
(2:56) 11. The Smurf
(3:53) 12. Blue Gardenia
(3:17) 13. The Blue Medicine
(3:37) 14. Wild Cat Blues
(3:51) 15. Echoes Of Swing

It's hard to believe at first that there are only four instruments here. The arrangements are so ingenious, and the playing so nimble, that it could be at least twice that number. But listen closely and you will discover just a quartet of trumpet, alto saxophone, piano and drums – with absolutely no electronic tricks. The style is sophisticated small-band swing, the material a judicious mixture of originals and swing-era numbers and there is not a hint of whiskery nostalgia in any of it. It's about time this idiom received some fresh attention and here's the perfect curtain-raiser. ~ Dave Gelly   http://www.theguardian.com/music/2013/oct/13/echoes-of-swing-blue-pepper.

Personnel:  Colin T. Dawson / trumpet, vocals on 3, 8 & 12; Chris Hopkins / alto sax; Bernd Lhotzky / piano, celesta on 9; Oliver Mewes / drums

Fraser MacPherson Quintet - Our Blues

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 51:48
Size: 119,4 MB
Scans:

(2:53)  1. Our Blues
(4:48)  2. Born to Be Blue
(3:51)  3. Whisper Not
(5:14)  4. Round Midnight
(4:57)  5. Louisiana
(4:11)  6. Theme
(3:56)  7. Crazy Rhythm
(5:27)  8. Spring Can Really Hang You Up the Most
(4:43)  9. Woody 'n' You
(5:29) 10. Round Midnight
(6:13) 11. Speak Low

The late Fraser MacPherson (1928-93) was among the most admired musicians in Canadian jazz. A prominent member of the Vancouver jazz scene for over four decades, "Fras" remains a much beloved icon to virtually every Vancouver jazz player that's come along in the last fifty years. As a tenor player from the early 1970s, he earned an international reputation. These marvelous tracks, originally captured by CBC radio, date from 1962 and 1963. Fraser is in great company, including legendary pianist Chris Gage, who has never been previously heard on a commercially released recording, and who was said to be the only serious rival to Oscar Peterson at that time. Sadly, Gage was to take his own life in November 1964. 

After moving to Vancouver in 1948, he studied in NYC (1956-57), and worked for 20 years in local nightclubs, among them the Palomar (1950-54) with Chuck Barber, Bob Reid, and Lance Harrison) and the Cave (1961-63 with Chris Gage, then to 1970 with his own band), where he played with such visiting luminaries as Ella Fitzgerald, Earl Hines, Tony Bennett and Duke Ellington. Concurrently he was a first-call studio musician (saxophone, flute, and clarinet) and occasionally played saxophone with the Vancouver Symphony Orchestra. MacPherson, with Oliver Gannon, won a Juno Award for Best Jazz Album in 1983 for I Didn't Know About You, (Sackville 4009), was made a Member of the Order of Canada in 1987, and won the Oscar Peterson Trophy shortly before his death in 1993.   http://vancouverjazz.com/newcd/2007/05/fraser-macpherson.html
Personnel:  Fraser MacPherson, tenor saxophone; Carse Sneddon, trumpet, valve trombone; Chris Gage, piano; Stan Johnson, bass; Jimmy Wightman, drums
Recorded in Vancouver BC, July 26, 1962 and January 31, 1963

Our Blues

Tuesday, March 25, 2014

Tera Johnson - The Other Side

Size: 111,5 MB
Time: 47:53
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Vocals
Art: Front

01. Funny Face (4:06)
02. Love For Sale (4:56)
03. Lovely (4:28)
04. Havin' The Blues (5:34)
05. I've Got You Under My Skin (3:03)
06. The Morning After (3:22)
07. The Other Side (4:47)
08. 'round Midnight (4:58)
09. On A Good Day (3:56)
10. Fly Me To The Moon (3:46)
11. That Man Is Mine (4:53)

Like a shot of espresso to liven your day, jazz and blues vocalist Tera Johnson is small but mighty. She can carry a crowd on the back of her voice without the need of any additive; her performance offers the perfect amount of cream and sugar. Tera's voice soothes and warms a chilly eve and brings a light breeze across a feverish brow, each lyric and note so distinct and heartfelt.

Having over 10 years of professional performance experience from the intimate coffee shops of Central Illinois to the brightly lit stages of Jazz Festivals in Europe and the United States, Tera Johnson has kept a magical memory of each audience for which she has played. Beginning in a big band at her high school, Tera has received awards throughout the state of Illinois for Best Soloist in such jazz competitions as: Western Illinois University, Eastern Illinois University, Illinois State University, University of Wisconsin-Eau Claire, and many others. Tera has also traveled around the United States as a guest artist at jazz festivals such as: Festival of the Sea in the Bahamas, the Heritage Festival in New Orleans, Louisiana, and McGill University Jazz Festival in Montreal, Canada. Forming a jazz quartet in high school, Tera was hired to play at countless wedding receptions, business parties, restaurants, and a variety of other special events.

Moving to Boston, Massachusetts to further her education as a performer, Tera Johnson was accepted and minored in Vocal Performance at the world-famous contemporary arts school: Berklee College of Music. Taking advantage of learning from talented jazz vocalists Mili Bermejo, Maggie Scott, and Donna McElroy, Tera was able to find her niche as a jazz and blues vocalist and develop her own sound and style. Offered the opportunity to perform as a guest artist in Vienne, France at the Vienne Jazz Festival 2001 as well as the Montreux Jazz Festival 2001, in Montreux, Switzerland, Tera spent 2 weeks over seas performing almost daily at different venues for both private parties and festival concerts.

Now residing in Los Angeles, California, Tera has performed as both guest vocalist and featured artist at a variety of venues throughout Los Angeles County. Since her arrival in August 2002, Tera has had the opportunity to perform and study with a variety of musicians already established the Southern California area (John Proulx, Sherry Luchette, Jonah Minton, Tamir Hendelman, Orna, Megan Foley, Nina Beck, and Gaea Schell just to name a few!).

The Other Side

Gary Smith - Love Will Warm Your Heart

Size: 122,9 MB
Time: 53:08
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Guitar, Smooth Jazz
Art: Front

01. Everything Happens To Me (5:09)
02. Azur (6:02)
03. I Wish You Love (3:59)
04. A Warm Fire And You (4:14)
05. I'm Confessin' (6:23)
06. Going In Circles (4:25)
07. Darn That Dream (4:07)
08. Purple Rhymes With Orange (6:54)
09. I Love You (5:24)
10. A Warm Wind (6:26)

Originally from a background in commercial music, Gary Smith worked in a wide range of musical situations in the UK and Europe. With the formation of The Acme Quartet in the mid ’70s he moved out of the commercial arena. For around 8 years, until 1990, Gary retreated from recording and live performance. During this period, he studied harmony and counterpoint with composer John South and started developing the technique and approach to playing the guitar he now utilizes.

Since the release of his first solo album ‘Rhythm Guitar’ in 1991 he has worked with, amongst others, John Stevens, Mass, Shoji Hano, Rhys Chatham, Bill Fay, Aufgehoben, and Masayoshi Urabe.

He is known for his dense, contrapuntal style of playing and has been a pioneer in the use of stereo guitar. In recent years he has reduced his use of technology to just guitar, amp and volume pedal, creating sounds similar to prepared instruments, static, mechanical effects, computer generated sounds, birdsong, etc. - these detailed and magnified sounds he combines with the traditional parameters of Western music.

Love Will Warm Your Heart

Gwen D'Vyne - When I Fall In Love

Size: 80,7 MB
Time: 34:44
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Vocals
Art: Front

01. The Very Thought Of You (3:56)
02. You Dont Know Me (4:18)
03. The Nearness Of You (4:16)
04. Dont Know Why (3:03)
05. Cry Me A River (3:40)
06. When I Fall In Love (4:40)
07. Don't Get Around Much Anymore (2:34)
08. Ain't Misbehaven (4:19)
09. What A Wonderful World (3:54)

Romantic, Sophisticated, Entertaining

Gwen D’Vyne sets flame to classic torch songs from eras passed but never out of date.

Soothing and sassy her renditions of songs of love won and lost, sets souls ablaze. Her voice of smoke and tears expresses love and the longing for it in a bluesy, jazzy, sultry way to bring out the sensual tones of the voice. This siren of song touches hearts young and old because love does not discriminate, it calls to us all for all times.

When I Fall In Love

Mike Fageros - Melange De Jazz / Midnite Tippin'

Album: Melange De Jazz
Size: 143,0 MB
Time: 61:35
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz: Hammond Organ, Guitar
Art: Front

01. Son Of Ice Bag (7:42)
02. Recorda Me (3:57)
03. Rita (Texas Hurricane) (4:44)
04. Minority (5:23)
05. Mad Hatter (4:29)
06. Take Five (4:09)
07. Love Trip (6:11)
08. Prodigal Son (5:08)
09. Song For My Father (5:12)
10. Sunny (4:54)
11. Impressions (7:37)
12. Mars Project (2:05)

MELANGE = MIXTURE, BLEND (action) MIXING OR BLENDING OF JAZZ OR MIXOLOGY AS THE CASE MAY BE.

In this case we are talking about a mix or blend of jazz in regards to instrumentation and the style of jazz.

The first cut, Son of Ice Bag, is a tribute to legendary Hammond Organist Dr. Lonnie Smith. Houston Organist Travis Doyle really does it justice, with Mike taking the first solo in the Melvin Sparks tradition and drummer Andrew Griffin paying tribute to drummer Marion Booker who played on the original cut with Dr. Lonnie. Organist Travis Doyle is also featured on Fageros' composition "Rita" the Texas Hurricane which is a dedication to the citizens of Texas and Lousiana Gulf Coast, who suffered severely as a result of Hurrricane Rita (2005).

Take five, a Brubeck composition is "Funked Up" a la Benson with the same personnel, Mike on guitar, Travis Doyle Hammond B-3 and Andrew Griffin on drums. Hammond Organist Robert Sanders, no stranger to Top Secret(Smokin' on the B-3) is featured on tracks 2,4,5,7 and 8. He also makes his debut as a composer at Top Secret with his soulful "Love Trip" which features some great work by drummer Andrew Griffin. Andrew's discography includes Hammond impressario Joey DeFrancesco and tenor titan Marschal Ivery on the "Marschal meets Joey" CD(Leaning House).

Minority features the same trio, Robert Sanders(Hammond), Andrew Griffin(drums), and Mike on guitar. It really swings as does the remake of the Henderson composition, "Recorda Me, that offers a Latin feel.

We have gone back to the "Cookbook" feel(Dr. Lonnie, George and Marion) to get the "Return of the Prodigal Son", with a great solo by Mike. The Mad Hatter is an original by Mike dedicated to Pat Martino, that has a groove type feel in 6/8 that reminds us of the days when Pat used to play with Organist Trudy Pitts.

Three bonus tracks, Song for My Father, Sunny and Impressions are included with a different core group, Mike on guitar, Spare Time Murray bass and John Fontenot drums. This trio has a great spontaneous feel and check out how they stretch on Impressions.

Last but not least is "Mars Project" a Fageros composition done on electric 12 string which is an experiment into the abstract using consonance and dissonance.

In all, 62 min. and 3 seconds of Melange, we are sure that you the listener will enjoy. All tracks were recorded live in the studio with Mars Project having the only overdubs.

Melange De Jazz

Album: Midnite Tippin' Vol. 1
Size: 135,0 MB
Time: 58:14
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Hammond Organ, Guitar
Art: Front

01. Black Nile (5:28)
02. Opus De Don (6:00)
03. The Midnite Tipper (6:40)
04. Voyage (4:57)
05. Tune Up (5:24)
06. Nica's Dream (9:49)
07. Inner Urge (5:17)
08. Lean Years (8:24)
09. Softly As A Morning Sunrise (6:12)

Detroit was the city and Jazz was the game, so when Guitarist Mike Fageros, Organist Chris Codish and Drummer Ron Pangborn hooked up at the Cadieux Cafe on the East Side during Sunday night "Soul Sundays" jazz session, they decided to take it to the next level and record at the "White Room" to make it official.

During one of the coldest days of March 2009, which would have been the third, with the temperature down around 18 degrees, they recorded the first session for the project Midnite Tippin' known herein as Volume I.

Enclosed in the grooves, you will find the warm sounds of their version of the Guitar,Organ,Drums Trio with great arrangements of standards by legendaries including Horace Silver, Pat Martino,Don Patterson, Wayne Shorter,Miles Davis, Joe Henderson and Kenny Barron along with the title track written by Mike Fageros entitled The Midnite Tipper'.

Special thanks go out to Pat Martino, Oksana Neverkovich,John Smerek, Candice Byrd and Jeff Smith at Southwest Recording for help on the project. The title track The Midnite Tipper' is dedicated to Pat Martino.

Midnite Tippin' Vol. 1

Eva George - An Afternoon With Ella

Size: 88,4 MB
Time: 37:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals
Art: Front

01. An Afternoon With Ella (2:44)
02. Without A Sound (3:36)
03. Just The Way You Are (5:22)
04. On A Wing And A Prayer (2:56)
05. Party For Two (2:19)
06. My Melancholy Baby (3:03)
07. In A Shanty In Old Shanty Town (2:30)
08. Someone To Watch Over Me (3:36)
09. Reminiscing (4:26)
10. I Love You (3:34)
11. Party For Two (Prenez Deux) (3:31)

On Eva’s latest recording, An Afternoon with Ella, she is backed by legendary players including drummer Chester Thompson (Weather Report, Phil Collins), bassist David Hungate (Toto) and Catherine Marx (Reba) on piano. These stellar musicians bring eloquent life and beauty to Eva’s second full-length studio album.

This story of romance is parlayed into songs that look at a lifetime of love, while raising a family, through a nostalgic dialogue. Ella was inspired by the golden anniversary celebration of Eva’s parents. With a graceful view of days gone by, she weaves together a classic vocal jazz album.

Produced with longtime collaborator, Rob Galbraith (Ronnie Milsap), the team develops the story through classics from the American Songbook, adding in self-penned pieces with an instantly timeless feel to tell the personalized tale of her parent’s lives together. Rob states, “It seems Eva has found her niche with these standards plus the ones she wrote; and, her originals more than hold their own even in the presence of such company. Wonderful album to work on with her and the players. A real labor of love. I think you'll enjoy An Afternoon with Ella.” Eva adds, “It was such a beautiful challenge to stay true to the classic vocal jazz/Big Band era, while speaking of my parent’s journey. I have a deep love for this genre because of them, and I wanted to voice their story from an insider’s point of view. To do that I asked each of them about the music in their dating period, how they found the right person and how they raised a family on a shoestring budget. That’s when I knew I had to put pencil to paper. I truly enjoyed creating this vision of enduring love. I hope others can see their own romance in these writings.”

The album includes a smoky jazz homage to their home state of New York, a tale of daydreaming for a man to love, a story or two of living through the lean years and a fresh look at their favorite anniversary song by Billy Joel - with a new vision of the melody. Together, they blend seamlessly to create a timeless tale of love.

An Afternoon With Ella

Leata Galloway - Sophisticated Lady

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 46:54
Size: 108,6 MB
Art: Front

(5:17)  1. Sophisticated Lady
(3:02)  2. I'm Beginning To See The Light
(5:19)  3. I Got It Bad
(3:58)  4. I'll Remember April - Smile
(4:16)  5. In A Sentimental Mood
(3:55)  6. The Man I Love - Lover Man
(4:24)  7. The Lady Is A Tramp
(4:14)  8. Star Dust
(5:37)  9. I Remember You
(6:48) 10. Mist In The Dawn

Leata Galloway a powerfully persuasive singer that musical tastemakers proudly proclaim “a natural.” The Brooklyn-born beauty has wrapped the full spectrum of her chops around every style of music under the sun and around the globe - in topflight musical theatre productions, scintillating headliner concert engagements and mood-drenched movie scores. However, she has always been, first and foremost, a Jazz Singer.  With well over three octaves at her command, Galloway has extraordinary switches of range, mood and idiom.

Across her illustrious career, Leata Galloway has appeared in the musical “Sophisticated Ladies,” followed by her own Japanese import jazz CD Sophisticated Lady (recorded with the trio of pianist Mark Gray, drummer Billy Hart and bassist Tom Barney). That earned her a nomination in Japan’s Swing Journal for Best Female Vocalist.  She also recorded a Big Band album in Germany titled Live from The Hamburg Jazz Gala with The Peter Herbolzheimer All Stars, an international 18-piece aggregation that featured saxophonist Don Menza, trumpeter Chuck Findley, bassist Niels-Henning Osted Pedersen and drummer Grady Tate.  She toured for a year singing behind the legendary pop traditionalist Peggy Lee and later embarked upon a 17 country EuropeanTour with Austrian contemporary keyboard wizard Joe Zawinul’s pan-cultural ensemble The Zawinul Syndicate.

Leata Galloway has come a long way from Harlem where she and an older sister grew up in a volitale environment. “"I could sing ‘Stormy Monday Blues’ and mean it by the time I was 8",” she quips!  Music became Leata’'s salvation, beginning with the Nancy Wilson albums she'’d sneak into her room from her father’s collection to get lost in.

Those gratis lessons paid off big time when Leata went from being a junior in a high school production of the musical theatre classic “Carousel” to the inaugural cast of therevolutionary rock opera “Hair” on Broadway. She stayed for two-and-a-half years and was immortalized on the now-classic RCA Records original cast album. Taken under the wing of one of the show’s composers, Galt McDermott, Leata was the only original cast member featured in the film adaptation over a decade later (singing “Electric Blues”) as well as sing two songs on-screen for the Black screen gem “Cotton Comes to Harlem.”  Many more stage productions followed, from “Don’'t Bother Me, I Can’t Cope” on Broadway to “Golden Boy” off Broadway. A chance role in a small German film led to Leata recording her debut LP, Leata, for Ariola Records – a pop production.

Back in New York, Leata developed her Jazz nightclub act, which brought her to the attention of Dr. George Butler at Columbia Records who signed her after seeing her at Green Street.  However, Leata usurped by the R&B department where a Quiet Storm LP, The Naked Truth, was produced by Nick Martinelli (Phyllis Hyman and Regina Belle) and Preston Glass (Whitney Houston), highlighted by a sensational rendering of “Cry Me a River” (arranged by James Lloyd of Pieces of a Dream). Leata also moonlighted on albums by vibraphonist Mike Mainieri (Love Play) and sax man Tom Scott (Desire).  http://www.leatagalloway.com/#!bio

Sophisticated Lady