Marlene VerPlanck - My Impetuous Heart

Size: 167,9 MB
Time: 71:50
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals, Cabaret
Art: Front

01. Fools Fall In Love (4:52)
02. Can't We Be Friends (4:56)
03. I'm Travelin' Light (2:53)
04. Call Me Irresponsible (2:58)
05. Soul Eyes (3:55)
06. I Can Hardly Wait (3:21)
07. All In Fun (4:32)
08. You're Getting To Be A Habit With Me (3:59)
09. The Day I Found You (4:27)
10. Dance With Me (3:39)
11. You Must Believe In Spring (4:50)
12. Fun To Be Fooled (3:56)
13. Willow Creek (5:13)
14. There's Never Been A Better Day (3:27)
15. How Little We Know (3:04)
16. We'll Be Together Again (5:12)
17. Love Won't Let You Get Away (3:03)
18. My Impetuous Heart (3:26)

She's come a long, long way from the time she set the jingle world on end by singing those three syllables, "mmm-mmm-good," and kicking off a commercial idolization of Campbells Soup. My Impetuous Heart, Marlene Ver Planck's 16th album and first for DRG, makes manifest that her voice is as light, lilting, clear, and entertaining as it ever was, maybe even more so. Her backing on this album, with the Hank Jones Trio taking the lion's share of accompanying duties, is as impeccable as the playlist, which blends standards with some compositions that aren't performed often.

There are guest appearances by George Shearing, Marian McPartland, and Bucky Pizzarelli on a couple of the cuts.

Ver Planck is blessed with an unsurpassed sense of timing and phrasing. Listen to her with Hank Jones on the "Friends" medley "Can't We Be Friends" and "Just Friends." Those small pauses between phrases has the listener waiting in anticipation for the next line. No matter what the style, Ver Planck handles it with aplomb. She's bouncy with "Call Me Irresponsible," where Jones gets some solo time, and she's soulful on "Fools Fall in Love." Ver Planck doesn't scat -- at least not very much -- but engages in sophisticated cooing and humming on "...Irresponsible" and on the introduction to Mal Waldron's "Soul Eyes." Pizzarelli's guitar does melodic but unobtrusive yeoman work in support as Ver Planck caresses haunting lyrics penned by the undervalued vocalist Bev Kelly. Excellent playing by Hank Jones' regular bass player, Gary Mazzaroppi, prevails as he weaves in and out with Ver Planck on "Travelin' Light." Ver Planck and Jones deliver "You're Getting to Be a Habit With Me" as a ballad. The slower pace permits greater appreciation of the lyrics, which often get glossed over by the breakneck speed in which this tune is usually performed. Ver Planck displays her poignant, melancholy side with a heartrending interpretation of "You Must Believe in Spring," and does so without being maudlin. George Shearing shows up to assist in the presentation of the cabaret favorite "All in Fun." Among the less familiar but listenable material is "Willow Creek"; Marian McPartland joins with Ver Planck on this wistful tune, which McPartland wrote with Loonis McGlohon. The inviting "Dance With Me Outside," introduced with some of that sophisticated cooing, is a cosmopolitan vocalist/trio rendering reminiscent of a small, cozy (and expensive) New York City Lounge. It's an intimate setting, with musicians delivering a slightly off-center tune.

Marlene Ver Planck is among those contemporary "veteran" performers who are in the upper tier of jazz pop singers, along with the likes of Carol Sloane and Sue Raney. Never dull, the performances here are filled with delightful surprises, and the amazingly facile Ver Planck possesses an extraordinary feel for her songs, a feel which she then passes on to the listener. ~Review by Dave Nathan

My Impetuous Heart

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Jim Oblon - Sunset

Size: 118,4 MB
Time: 50:37
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Rock, Jazz, Hammond Organ
Art: Front

01. Before I Grow Too Old (3:18)
02. Lucille (7:39)
03. Desert Sun (4:08)
04. With You On My Mind (5:37)
05. When I Was A Cowboy 1911 (5:05)
06. Blueberry Hill (4:18)
07. Wrapped Up In Your Love Again (6:35)
08. Sunset (5:11)
09. Railroad Bum (3:43)
10. Copperhead (4:58)

Out of the smoky bars and neon lights of East Nashville comes the swinging Telecaster blues of guitar-slinger Jim Oblon. His new album Sunset, recorded with the legendary session drummer Jim Keltner and renowned GRAMMY-winning pianist/organist Larry Goldings, has musical roots that go deep into blues, R&B and classic country on a variety of ballads, vintage rock and standards. Oblon, always a believer in the bigger musical picture, aims to expound upon musical legacy without becoming an impersonation. “Today there’s a ‘blues scene’ with Brylcreem and bowling shirts, all the gear, but it doesn’t have the essence of music. I wanted to honor the people who came before me. Maybe I can add a few of my own things, but I want to not lose what was.”

A classically trained multi-instrumentalist from New England, Jim Oblon is now a local icon as the Tuesday night host/performer at East Nashville’s Foobar rock club when he isn’t on the road with Paul Simon as his touring guitarist. He gained national attention playing bass, drums and guitar on Paul Simon’s excellent So Beautiful or So What and his 2011 single, a Jim Morrison-esque recording of the traditional song “Where Did You Sleep Last Night,” which was used in the season finale of HBO’s hugely popular vampire drama True Blood.

“Unlike so many hot players onstage every Tuesday night in East Nashville, Jim Oblon understands restraint is as much the realm of passion as stinging notes that fall like shrapnel.” —Nashville Arts Magazine

Thanks to kamane.
Sunset

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Clare Teal - Get Happy

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 49:07
Size: 117,8 MB
Art: Front

(4:21)  1. All For Love
(2:41)  2. Get Happy
(4:33)  3. Love Hurts
(4:19)  4. Begin The Beguine
(3:29)  5. Cheek To Cheek
(2:57)  6. Get On It Sam
(4:32)  7. The Very Thought Of You
(3:04)  8. Breaking Up Is Hard To Do
(4:59)  9. Moondance
(3:40) 10. Love For Sale
(3:35) 11. High Love
(3:42) 12. Time After Time
(3:11) 13. All The Things You Are

When Yorkshire-born singer Clare Teal first surfaced six years back, she sounded like an artist who could deliver a very safe jazz and classic-pop repertoire with a distinctive fizz that came from both technical sophistication and an unequivocal love of the material. Teal grew up fantasising she was Ginger Rogers whirling into the arms of Fred Astaire around the aisles of Keighley shopping centre when she was out with her mum - and that enduring devotion to swing, standards and lyrics about a rosily simplified life remains central to her appeal.

This set marks Teal's move to Universal's W14 imprint (Alison Moyet and Siouxsie Sioux are labelmates), and, of course, it's all tailor-made Michael Parkinson material. Teal's powerful jazz credentials are more to the fore on this album, however, notably in her light-stepping swing over a fast bass-walk on Cheek to Cheek, the Ella Fitzgerald scat-jam at the end, and the Cab Calloway hi-de-ho references in the finale of Moondance. Her clarity and controlled power allow her to make the much-travelled pop ballads Love Hurts and Breaking Up Is Hard to Do her own, but in replacing the sense of desolation in Love for Sale with a kind of plain-speaking resignation, she diminishes its meaning. Some may find many of the other lyrics too cheesy to be delivered without irony, and the Radio 2 vibe too pervasive. But, as always with Teal, she sounds as if she's loving every moment, and for many that will be infectious.~ John Fordham   http://www.theguardian.com/music/2008/feb/22/jazz.shopping1

Get Happy

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Eden Atwood - Turn Me Loose

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 54:59
Size: 126,5 MB
Art: Front

(4:01)  1. Home
(3:17)  2. Don't Fence Me In
(5:41)  3. I Got It Bad And That Ain't Good
(3:21)  4. Ain't Gonna Let You Break My Heart Again
(4:15)  5. Miss Celie's Blues (Sister)
(5:30)  6. Pure Imaginattion
(4:20)  7. Ill Wind
(4:20)  8. True North (Bonus Track)
(4:14)  9. Girl Talk
(4:12) 10. Don't Get Around Much Anymore
(3:41) 11. The Best Is Yet To Come
(4:53) 12. I'll Close My Eyes
(3:09) 13. Lazy River

A fine interpreter of lyrics, Eden Atwood started off her jazz career with a series of excellent recordings for Concord. Raised in Montana, Atwood studied drama and musical theater at college but became interested in jazz, and at 19 she began singing locally. Although she worked as a model and an actress, Atwood has focused her attentions on singing; she made her debut in New York in 1992 and sings in a style somewhere between jazz and cabaret. She produced a high volume of material through the first half of the 90's, but stopped delivering regular material until she signed with Groove Note in the early 2000s.

~ Scott Yanow   http://www.allmusic.com/artist/eden-atwood-mn0000177681/biography

Turn Me Loose

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Eddie Daniels - Swing Low Sweet Clarinet

Styles: Clarinet Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 51:20
Size: 119,0 MB
Art: Front

(5:21)  1. Begine The Beguine
(3:58)  2. Stompin' At The Savoy
(5:35)  3. Stardust
(5:17)  4. Three In One
(6:36)  5. Quiet Now
(5:19)  6. Stride Rite
(4:44)  7. Waltz For Mirabai
(6:53)  8. Goodbye
(7:32)  9. Sing, Sing, Sing

Without going overseas to pad the list (Don Byron, Buddy DeFranco or Ken Peplowski may win some stateside polls and honors; Antti Sarpila and Putte Wickman won’t), one can count the number of outstanding contemporary Jazz clarinetists on the fingers of one hand. One of the best of them is Eddie Daniels, heir–apparent in the Goodman / DeFranco / Tony Scott dynasty of unvarnished swingers who pays earnest homage to the instrument’s heyday on Swing Low Sweet Clarinet, ably supported by Germany’s world class Frankfurt Radio (hr) Big Band. Daniels is no stranger to large ensembles, having spent half a dozen years as a sideman (mainly on tenor sax) in the Thad Jones–Mel Lewis Orchestra and recorded previously with the Jazz Arts Group of Columbus, OH, and even the London Philharmonic Orchestra. He’s right at home here too, deftly weaving his spellbinding phrases through and around the hr band’s tailor made arrangements (including two by Jazzmeister Peter Herbolzheimer). 

Daniels opens with a tune closely associated with clarinetist Artie Shaw, Cole Porter’s “Begin the Beguine,” and closes with a Goodman classic, Louis Prima’s “Sing, Sing, Sing” (performed in concert, with drummer Wolfgang Haffner depping admirably for Gene Krupa). Sandwiched between are studio versions of Goodman’s haunting theme song, “Goodbye,” and two more of the King of Swing’s memorable hits, “Stompin’ at the Savoy” and “Stardust,” along with former employer Thad Jones’ “Three in One,” Denny Zeitlin’s “Quiet Now,” and a pair of Daniels’ own compositions, the Swing Era style “Stride Rite” (which suggests at times the standard “This Is Always”) and the sunny “Waltz for Marabai.” If Daniels has an Achilles heel, it may be that he makes playing virtuosic clarinet seem so preposterously easy. Because of this, he sounds deceptively laid–back and is open to the charge (which has been made) that he is short on soul. To lay that accusation to rest, simply listen to “Sing, Sing, Sing.” Comparatively speaking, the other selections may sound almost nonchalant, but on the other hand you’ll seldom hear a clarinet played any better. Toss in the hr Big Band as a bonus and slap a “Grade A” label on this one. ~ Jack Bowers   

http://www.allaboutjazz.com/php/article.php?id=7828#.UzYSdIVSvro
 

Personnel: Eddie Daniels, clarinet, with the Frankfurt Radio (hr) Big Band, Kurt Bong, conductor; Harry Petersen, Heinz Dieter Sauerborn, alto sax; Wilson de Oliveira, Tony Lakatos, tenor sax; John Oslawski, baritone sax; Paul Lanzerath, Martin Auer, Alexandre Molempr

Swing Low Sweet Clarinet

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Chris Hopkins, Bernd Lhotzky - Partners in Crime

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 56:33
Size: 130,4 MB
Art: Front

(3:19)  1. Tonk
(3:42)  2. Imagination
(3:25)  3. Georgia Jubilee
(4:24)  4. Snowfall
(4:29)  5. I Got Plenty O' Nuttin'
(4:05)  6. Jingles
(4:41)  7. Someone to Watch Over Me
(4:10)  8. Salir a La Luz
(2:32)  9. Sneakaway
(5:42) 10. Five 4 Elise
(3:52) 11. Partners in Crime
(3:27) 12. Doin' the Voom Voom
(3:18) 13. Russian Lullaby
(2:47) 14. I Believe in Miracles
(2:32) 15. Apanhei-Te Cavaquinho

Don’t let the title upset you: there are no victims here.  And the mournful basset hounds are misleading: this isn’t morose music.  It is a two-piano recital by the sterling players Hopkins and Lhotzky.  And it’s almost an hour of absolutely gorgeous music.  What distinguishes this from other discs in the idiom is something rare and irreplaceable.  Taste. Chris and Bernd are not only astonishing technicians who can scamper all over the keyboard and make joyous noise.  But they are wise artists who know that a rich diet of auditory fireworks soon palls. (How many people, listening to a gifted player “show off” a stride pianist play at dazzling speed, a horn player careen around in the upper register have thought, “That’s really impressive.  Could you stop doing it now  we’re all convinced that you can!”  I know these radical thoughts have entered my mind more than once, and I suspect I am not alone.) Although they are harmonically sophisticated musicians, Bernd and Chris know that melody and variety are essential.  

”Sweet, soft, plenty rhythm,” said Mr. Morton, and he hasn’t been proven wrong. So this disc doesn’t wallop us with pyrotechnics there is a James P. piece, Jingles but it roams around happily in the land of Medium Tempo with delicacy and precision.  It isn’t Easy Listening or music to snooze by, but no crimes are committed against Beauty here.  What’s more, these players have understood how to plan a concert even when the imagined audience may be driving or doing the dishes so there is never too much of any one approach or style.  The disc begins with the Ellington-Strayhorn Tonk (which, once again reminds me of Gershwin in Paris and Raymond Scott in his studio), then moves to a lacy reading of Fud Livingston’s Imagination, Arthur Schutt’s Georgia Jubilee, Thornhill’s Snowfall, I Got Plenty O' Nuttin', the aforementioned Jingles (a masterpiece at a less-than-frenzied tempo but swinging hard), a lovely Hopkins solo rendition of Someone to Watch Over Me, Bernd’s Salir a La Luz (dedicated to Isabel Lhotzky, the Lion’s Sneakaway as a solo for Bernd, Bernd’s Five 4 Elise (whimsically based on Fur Elise), Chris’ Partners in Crime  , Doin’ the voom voom, russian  Lullaby, I believe in miracles (for Mr. Waller), and  Nazareth’s apanhei-te cavaquinho. 

Discerning readers will note the absence of Ain’t Misbehavin’ and other songs that have been played many times in the last ninety-plus years, but this disc isn’t devoted to the esoteric for its own sake.  Each of the songs has a strong melodic line: the listener never gets bored, for even the most familiar one here say, Someone to Watch Over Me is handled with great tenderness, elegance, and a spacious intelligence, as if the players already knew what cliches and formulaic turns of phrase were possible, and had discarded them in favor of a loving, deep simplicity.  Even their 5 / 4 version of FUR ELISE is delicately hilarious. And  as an added bonus  the disc is beautifully recorded in the old-fashioned way: two Steinway pianos and one pair of Sennheiser omni-directional microphones.  It’s music for the ears, the heart, and the mind and (without meaning any acrimony here) the disc is a quiet rebuke to pianists who pound their way through the same tired repertoire and record producers who make it sound artificial. It’s a beauty, and it celebrates Beauty.  http://jazzlives.wordpress.com/2013/01/10/an-elegant-recital-partners-in-crime-by-chris-hopkins-and-bernd-lhotzky/

Partners in Crime

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Nina Hennessey - With A Song

Size: 115,3 MB
Time: 49:20
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz/Pop Vocals
Art: Front

01. Sometimes I'm Happy (2:37)
02. Girl Talk (3:24)
03. It Ain't Necessarily So (2:26)
04. Tre Giorni Son Che Nina (4:02)
05. Willow Weep For Me (Feat. Jeff Ganz) (2:57)
06. Falling In Love With Love (2:30)
07. Lover (2:47)
08. New Valley (2:56)
09. A Nightingale Sang In Berkley Square (4:07)
10. A Quiet Thing (4:02)
11. Temporary (Feat. Don Rebic) (4:20)
12. It's A Good Day (Feat. Ray Marchica) (1:22)
13. Mornin (5:29)
14. Theme From Ice Castles (2:34)
15. Without A Song (Feat. Sean Harkness) (3:38)

Her dreamy powerful voice, like a silvery fresh-water spring, flows effortlessly over the sophisticated fun material from a chacha treatment of the classical aria "Tre Giorni Son Che Nina" to the daringly simple accappella performance of her early mentor, Marvin Hamlisch's, "Looking Through the Eyes of Love", the arrangements and performance are simply world class.

"There aren't many singers who can make the transition from musical theatre to the intimate nightclub scene as easily and as beautifully as Nina. Listen closely and you'll hear what I mean-Nina Knows!" Marilyn Maye

"Ever since her last Broadway show, "Bye Bye Birdie", closed; Nina has been cookin' up something new. It began when Marilyn Maye and Don Rebic met Nina in the studio to play through her book of favorite songs.
Last fall, dear friend and fellow musician, Nick Cerrato, booked Nina and me for a gig. It was a perfect opportunity to feature Nina and her "new book" of songs. We called Don to be our MusicalDirector/pianist and Jeff Ganz to play the bass. In spite of us all being old friends, this was the first time we'd all played together.
It turned out that the gig took place three days after my dad passed away and less than 24 hours before hurricane Sandy
hit. Nobody cancelled!! The music we made that day was astonishingly good. We had serious chemistry and commitment. Nick said,"You have to keep doing this!" Well, we did, and asked Sean Harkness to join us on the way.
Nina has to sing. It's programmed in her DNA. It's like breathing to her. She has a gift of an incredible voice. I'm so glad she is sharing it with us all on this CD. Here she is..."With A Song"...or fifteen of 'em!" Ray Marchica

With A Song

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Dmitry Baevsky - Down With It

Size: 136,9 MB
Time: 59:01
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Straight-Ahead/Mainstream
Art: Front

01. Down With It (4:50)
02. Mount Harissa (7:20)
03. We See (6:34)
04. LaRue (7:41)
05. Shabozz (7:31)
06. Last Night When We Were Young (5:54)
07. Decision (5:32)
08. Webb City (5:12)
09. I'll String Along With You (8:23)

As jazz moves in many different directions and breaks free from the all too familiar and readily categorized sounds of its first century, how does an artist make bebop sound like something other than an exercise in nostalgia or an academic pursuit? In the hands of the thirty-four year-old alto saxophonist Dmitry Baevsky, bop is still a vein worth mining. Down With It, Baevsky's third date as a leader, contains an inspired selection of material, smart execution, and some marvelously telling details.

Each member of the quartet, with trumpeter Jeremy Pelt joining them on four of the nine tracks, plays his role to perfection. In nailing a ludicrously fast tempo on the head of "Down With It," bassist David Wong and drummer Jason Brown show no signs of strain. Baevsky's keening alto states Bud Powell's edgy, crackling melody with crisp economy. Pianist Jeb Patton dogs Baevsky every step of the way and, despite the band's wicked pace, sometimes his chords jump out and take on a life of their own. Brown's brief, flickering snare fills add just a little more thrust to the proceedings. All in all, the band's performance serves as a reminder that, at its best, bebop is truly a joyous, playful music.

Another highlight of a record which contains no mediocre tracks is Gigi Gryce's "Shabozz." The head makes a smooth transition from a sixteen bar Latin intro to medium tempo swing. Wong's walking bass line gives the band the right amount of lift. Goosed by Brown's snare drum accents—some of them more felt than heard—Pelt's solo is short on pyrotechnics and long on melodic invention. Every note sounds like it's played with Wong and Brown in mind. Baevsky takes a more aggressive stance. He balances long, twisting passages and shorter thoughts which adhere to the rhythm section's firm foundation.

Sonny Rollins' "Decision" contains some of Baevsky's finest improvising of the set. Once again, there's a palpable connection between his alto and the rhythm section—one really can't be separated from the other. The tune is taken at what Kenny Washington - Vocals once referred to as an "adult tempo," a pace somewhere between slow and medium which requires patience seldom found in the young. Though Baevsky eventually builds to a satisfying climax, what stays in mind is the way—particularly during the first chorus—he delivers a short phrase, briefly pauses to let it take effect, and then finds another one. ~Review by David A. Orthmann

To their credit, Baevsky and his cohorts don't invite facile comparisons to giants from a bygone era. Down With It is an excellent recording that stands on its own merits.

Personnel: Dmitry Baevsky: alto saxophone; Jeremy Pelt: trumpet (4, 5, 7, 8); Jeb Patton: piano; David Wong: bass; Jason Brown: drums.

Down With It

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Michele Mele - Laugh / Feel

Album: Laugh
Size: 97,5 MB
Time: 41:39
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Vocals
Art: Front

01. Cabana Boy (4:47)
02. Laugh (3:18)
03. Tree Frogs (3:17)
04. Trying (3:46)
05. Tick Tock (3:13)
06. Why Go There (4:44)
07. I Choose (3:21)
08. Play With Me (3:49)
09. Flats & Sharps (3:28)
10. Doucement (3:23)
11. Cynthia (3:21)
12. Try To Imagine (1:07)

Michele Mele is from a family of professional musicians, and has been writing songs for over twenty years. She was something of a prodigy, and began playing piano as a small child. Her talent was quickly obvious, and before she actually entered High School she had already completed all of the necessary music credits necessary for graduation. Michele graduated from the University of Toronto Faculty of Music in 1982, and in 1984 she graduated from the Faculty of Education. That same year, she directed an original musical production written by the Music Department of the Faculty of Education for presentation to local public schools. With a keen interest in live theatre, she also directed productions of Tennessee Williams' "Cat on a Hot Tin Roof" and "The Glass Menagerie". As a music educator, she has conducted numerous song writing and active listening workshops at schools and other Toronto area venues. In 1989, Michele Mele wrote, "That's All I Know", which was recorded and performed by Neil Donnell. The recording subsequently went "gold" in Canada. Michele has also composed and arranged choral works for large choirs, and in 1991 she composed a Christmas-themed work for the Toronto Philharmonic, which they performed in concert. Michele Mele has been a favourite performer at a number of Toronto's jazz boites, including the now defunct "Sax On Yonge", "The Top O' The Senator", "Gate 403" and "The Lemon Drop Martini". Michele's debut CD, "Like This" (which also contained exclusively original material), was released in 2003, and was warmly received by critics and fans alike. She is a diverse artist who (in addition to songwriting and performing) has a number of specialized skills. She is the Mother of four beautiful children, and is also a certified scuba diver, an accomplished flying trapeze artist and slalom water-skier.

She also speaks fluent French and Italian, and is a gourmet cook (much to the delight of her husband Luciano, and a crowd of her family and friends!). Michele is thrilled to be presenting her second solo CD, "Laugh!", and looks forward to many more projects produced in collaboration with an array of fine musical artists.

Laugh

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Album: Feel
Size: 131,7 MB
Time: 56:49
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz: Vocals, Bossa Nova
Art: Front

01. What's So Funny (5:04)
02. I Can't Sing The Blues (6:20)
03. Perspectivity (3:37)
04. Simplicity (2:29)
05. Beginning To See The Light (3:26)
06. Costa Rican Birds (3:58)
07. Don't Hide (6:29)
08. Cara Boo (4:37)
09. Morning Moon (2:38)
10. Why Choose (4:30)
11. You Must Believe In Spring (5:58)
12. Stop Talking (7:38)

Singer,composer,music educator Michele Mele releases her 3rd album of original material, entitled"feel".An enthusiastic and dynamic performer, her music reflects her many influences from a lifetime of music.Michele has had the good fortune of growing up in a musical family. She has been writing songs for over 20 years. A graduate of University of Toronto Faculty of Music and Faculty of Education, she has been inspiring music in everyone she meets. Her original song "That's All I Know" recorded by Neil Donnell we "gold" in Canada in 1989.As a composer she has written and arranged songs, choral and orchestral works including a piece written for and performed by The Toronto Philharmonic under Michele's baton.She has become a favorite performer in the Toronto Jazz scene playing at all the hot spots.Michele also offers workshops and clinics on songwriting performing and integrated arts.

Feel

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Don Lanphere - Like A Bird

Size: 142,5 MB

Time: 61:21

File: MP3 @ 320K/s

Released: 2000

Styles: Mainstream Jazz

Art: Front

01. Swingin' With Party Boy Will (6:04)

02. Somewhere (5:57)

03. Jeannine (4:44)

04. My Ship (3:41)

05. Blues For Les (7:30)

06. Slow Boat To China (5:23)

07. A Flower Is A Lovesome Thing (4:16)

08. Like A Bird (3:56)

09. Hello (5:21)

10. East Coast Attitude (5:29)

11. What Is This Thing Called Love (3:59)

12. Alexander's What (4:56)

Since Don Lanphere has been on the jazz scene since the 1940s, one would think that there is no format in which he hasn't performed. This album goes to show that there is always something new on the horizon. And that's the scene for this album, where, for the first time, Lanphere works with a Hammond B3 organ, here in the capable hands of Barney McClure. Also along for this occasion is guitarist Mimi Fox, and when you add Mel Brown on drums, you have a rather novel quartet of sax, organ, guitar, and drums. The boppish saxes of Lanphere, along with the organ groove and soul and the clean guitar strumming of Fox, produce a unique group sound. This is apparent right from the first track of Lanphere's "Swingin' With Party Boy Will," where both establish credentials as individual performers and as soloists. Lanphere's sax is appropriately vibrant, fitting well with McClure's organ and Fox's guitar reaching down to bass depths, on occasion. Brown gets in well-timed drum licks. And everything goes uphill from there. By the time they reach "East Coast Attitude," everyone is grooving high and strong. A Fox original, each gets the chance to stretch way out in that understated modal music style. Lanphere and Fox are alone on a lovely rendering of "A Flower Is a Lovesome Thing," where Fox has her guitar pitched rather low and sonorous as she works underneath Lanphere's statement of the melody line. This is a superior track of music. Opening with ethereal Fox strings then sequing into Lanphere's light, delicate and true pitch soprano sax, "My Ship" is another choice three-plus minutes of music. Altogether, the album is more than an hour of consummate musicianship and is highly recommended. ~Review by Dave Nathan

Like A Bird  

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Irene & Her Latin Jazz Band - Summer Samba

Styles: Latin Jazz, Brazilian Jazz
Year: 2007
File: MP3@320K/s
Time: 46:24
Size: 106,2 MB
Art: Front

(2:40)  1. Sway
(2:33)  2. The Constant Rain
(3:25)  3. Summer Samba
(3:05)  4. Whatever Lola Wants
(3:34)  5. Waters of March
(2:41)  6. Só Danço Samba
(3:00)  7. Little Boat
(3:45)  8. So Many Stars
(4:02)  9. Samba Saravah
(3:26) 10. Pretty World
(4:09) 11. Besame Mucho
(2:31) 12. One Note Samba
(3:15) 13. My Heart Belongs to Daddy
(4:11) 14. Let's Face the Music and Dance

If your idea of heaven is Brazilian music of he bossa nova vein, you've just passed through Saint Peter's gates with Summer Samba. Sweet-voiced Irene Nachreiner sways through a cornucopia of '60s samba with a slick, light and glossy band. Songs like Jobim's "One Note Samba" and "Waters of March" evoke images of Brazil, with Irene's infectious pop treatment of these tunes from the great South American songbook. Songs that we've grown accustomed to that have even a hint of samba flavor like "Whatever Lola Wants" are treated with a twinkle in the eye with the extra groove kicking in. What catches ones ear with a raised eyebrow are her wonderful Brazilian additions to songs like "My Heart Belongs to Daddy" and "Let's Face the Music and Dance." Just as Count Basie and Benny Goodman could swing anything that would come their way, Irene transforms these Tin Pan Alley tunes into snappy and infectious salsas. Cheerful, bright and optimistic, Irene can't help but cheer you up if you're down in the dumps or feeling the blues. Summer Samba is a great recording to start and if you've ever wondered what drove the music world mad in the '60s besides the Beatles pick up a copy of your own for a taste of summer in the winter. ~ "Summer Samba" review by George Harris /All About Jazz - Los Angeles/San Francisco/Chicago Edition /December 2007/Vol. 5 No. 11... More......http://www.cdbaby.com/cd/irenesings2

Personnel : Irene Nachreiner (vocals), Daniel Groisman (bass), Marco Tulio (guitar), Cristiano Novelli (percussion), Ron Snyder (piano), Scott Martin (saxophone and flute), Rich Wenzel (piano), Brice Martin (flute)

Summer Samba

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Engelbert Wrobel, Frank Roberscheuten, Chris Hopkins - Jammin'

Styles: Straight-ahead/Mainstream
Year: 2011
File: MP3@320K/s
Time: 75:03
Size: 172,4 MB
Art: Front

(6:53)  1. You Do Something To Me
(5:08)  2. Can't Help Lovin' That Man
(5:41)  3. Rose Room
(5:16)  4. I Can't Get Started
(6:52)  5. Robbin's Nest
(5:30)  6. Smiles
(6:46)  7. When I Grow Too Old To Dream
(4:58)  8. Mama Inez
(6:10)  9. I Surrender Dear
(4:19) 10. You Brought A New Kind Of Love To Me
(5:56) 11. I Can't Believe That You Are In Love With Me
(4:21) 12. Candlelights
(7:05) 13. El Salon De Gutbucket

This is the beauty of Jazz. As if from a dream, a multinational collection of musicians gather on the neutral ground of an international convention and are asked, on short notice to prepare and play a program. This particular group of musicians was to first meet on the bandstand. During a 15 minute Götterdammerung, they decide on a program and arrangements and then proceed to swing like they have known each other forever. This is exactly what took place at the International Association of Jazz Record Collectors convention held in Hamburg Germany in 1999. Reedists Engelbert Wrobel, Frank Roberscheuten, and pianist Chris Hopkins joined ranks to lead a band is a sometimes suprising collection of mainstream jazz standards presented in a mainstream manner. What is so stunning about this collection is the seamless telepathy with which these musicians, strangers to one another except by reputation, mix into a perfect solution of sound and swing. Martin Williams queried once that the big nonjazz listener question was, "Where is the melody". In this jazz, lake many other performances, the melody is presented up front in the head and then each musician, in a time honored manner, steps up to say what he or she has to say about that melody by offering their own melodies. This modus operandi worked all too well on this night, much to the satisfaction of those who will purchase this performance.~ C.Michael Bailey   http://www.allaboutjazz.com/php/article.php?id=8354#.UzHAD4UqPro

Personnel: Engelbert Wrobel: Clarinet, Tenor Saxophone, Soprano Saxophone; Frank Roberscheuten: Clarinet; Tenor Saxophone; Alto Saxophone; Chris Hopkins: Piano; Harvey Weston: Bass; Bobby Worth: Drums.

Jammin'

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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

Nacogdoches

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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

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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

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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

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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

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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

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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

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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

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