Carlene Carter - Carter Girl

Styles: Country
Year: 2014
File: MP3@320K/s
Time: 46:14
Size: 106,4 MB
Art: Front

(2:49)  1. Little Black Train
(3:28)  2. Give Me The Roses
(4:31)  3. Me And The Wildwood Rose
(4:23)  4. Blackie’s Gunman
(4:47)  5. I’ll Be All Smiles Tonight
(2:41)  6. Poor Old Heartsick Me
(5:18)  7. Troublesome Waters
(5:28)  8. Lonesome Valley 2003
(3:55)  9. Tall Lover Man
(3:17) 10. Gold Watch And Chain
(2:49) 11. Black Jack David
(2:44) 12. I Ain’t Gonna Work Tomorrow

A great legacy can be a blessing and a curse, and when your mother is June Carter and your stepdad is Johnny Cash, you're going to have a lot to live up to in the minds of most folks. Carlene Carter has built a pretty remarkable career for herself as a vocalist, and after a dark period she made an impressive comeback with 2008's Stronger. But it's rare when a critic or biographer doesn't mention Carter's place in one of country music's founding families, and on 2014's Carter Girl, she embraces their vital role in country music's history while also putting her own stamp on their body of work. Ten of the 12 songs on Carter Girl were written by members of the Carter Family, the trio that wrote and recorded some of country's defining music in the '20s and '30s, while one of the remaining selections, touching on the death of Johnny and June, was adapted by Carlene Carter and Al Anderson from an old Carter Family classic ("Lonesome Valley"), and the other is a poignant tale of her grandparents' scuffling days before they rose to stardom ("Me and the Wildwood Rose"). When Carlene Carter sings about her family, one can hear the love and respect in her voice, as she seems to be in awe of them as much as any of us, and the two originals are deeply moving, but her interpretations of the Carter Family's songbook are also heartfelt and impressive. 

There's as much rock and blues as country in her takes on "Little Black Train," "Blackie's Gunman," and "Blackjack David," but Carter approaches these songs as something fresh and vital, and she fills them with her own fearless spirit, and when she takes a more traditional route on "Give Me the Roses" and "I'll Be All Smiles Tonight," she sounds strong yet compassionate, melding her strength with the sorrowful tone of the lyrics. And producer Don Was has brought out the best in Carter, matching her up with a top-notch band (including Greg Leisz on steel and electric guitar and Jim Keltner on drums) and bringing in Willie Nelson, Vince Gill, and Kris Kristofferson for memorable vocal cameos. On Carter Girl, Carlene Carter has confronted the mighty legacy of the Carter Family's songbook and allowed it to strengthen her music rather than buckling under its weight, and this ranks with her finest recorded work to date. ~ Mark Deming   

http://www.cduniverse.com/productinfo.asp?pid=9135439&style=music&fulldesc=T

Carter Girl

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Joscho Stephan - Swing News

Bitrate: 320K/s
Time: 52:12
Size: 122.3 MB
Styles: Gypsy jazz
Year: 2001
Art: Front

[3:25] 1. Swing News
[3:03] 2. I'll See You In My Dreams
[2:18] 3. I've Had My Moments
[4:20] 4. Caravan
[2:16] 5. Les Yeux Noirs
[2:25] 6. Crazy Valse
[2:38] 7. All Of Me
[4:25] 8. Sweet Georgia Brown
[2:45] 9. China Boy
[3:42] 10. Body And Soul
[4:04] 11. Mocca
[2:13] 12. Stompin' At Decca
[2:55] 13. Sweet Sue
[3:52] 14. November Night
[3:00] 15. Dinah
[4:43] 16. Black Orpheus

German Gypsy prodigy Joscho Stephan set the Gypsy jazz world alight with his debut album, 1999’s Swinging Strings. The CD was dazzling in its fresh playing, handful of original compositions, and the fact that the whole album was a collection of first takes. Stephan’s second CD was eagerly awaited. This new disc has its highlights as well as its letdowns. After proving that he can play guitar on his first album, Stephan now appears to want to see how fast he can play it. Some of the songs here are machine-gun melodies that lose any sense of musicality, like the breakneck version of Les Yeux Noirs that is largely a medley of every other Gypsy Jazz guitarist’s best solos and clichéd licks. Other cuts are downright bizarre in their choice of stylings. The version of Sweet Georgia Brown features a slapped electric bass solo that would be more at home on a George Clinton Funkadelic album. It’s downright strange. And then there is Stephan’s version of Caravan that is ethereal in its beauty—and worth the cost of the CD alone. Stephan can obviously play guitar with the best of them. He also has an original style when he works at being himself and not aping Django Reinhardt or the other masters. And ultimately the highlights here outshine the oddities. It will be interesting to see what Stephan chooses to do on his next album. —Michael Dregni

Swing News

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Shirley Horn - I Remember Miles

Bitrate: 320K/s
Time: 53:05
Size: 121.5 MB
Styles: Jazz vocals
Year: 1998
Art: Front

[ 5:34] 1. My Funny Valentine
[ 5:40] 2. I Fall In Love Too Easily
[ 4:59] 3. Summertime
[ 7:23] 4. Baby, Won't You Please Come Home
[ 3:39] 5. This Hotel
[ 3:39] 6. I Got Plenty O' Nuttin'
[ 5:30] 7. Basin St. Blues
[10:39] 8. My Man's Gone Now
[ 5:59] 9. Blue In Green

No thanks to the paucity of musical genius in the latter half of the 1990s, tribute albums to the departed just kept pouring forth, although in Shirley Horn's case, she was repaying an old personal debt to her subject. After all, it was Miles Davis who originally got Horn out of D.C. in 1960 as his opening act at the Village Vanguard and contributed his trumpet to one of her comeback albums (1990's You Won't Forget Me). Not only that, Horn's understated, laconic, deceptively casual ballad manner is a natural fit for the brooding Miles persona, and she doesn't have to change a thing in this relaxed, wistfully sung, solidly played collection. She doesn't actually perform any Davis compositions; everything here consists of standards that Miles covered or transformed in the 1950s, including three numbers from Porgy and Bess. Roy Hargrove adds his effective muted Miles imitations on "I Fall In Love Too Fast" and open flurries on "I Got Plenty O' Nuttin'"; and Toots Thielemans makes like a long, lonesome train whistle on "Summertime." Former Davis cohorts Ron Carter and Al Foster join the rhythm section in a remarkably searching, extended "My Man's Gone Now," the only track which takes note of the electric music that consumed so much of Miles' output (in this case, inspired by the We Want Miles version, not the more familiar Gil Evans interpretation). In a sad way, the very idea of a Miles tribute is an oxymoronic denial of the ever-restless spirit of this genius who didn't believe in looking backwards. But Shirley Horn certainly serves the man's sensitive side well. ~Richard S. Ginnell

I Remember Miles

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Jimmy Raney - In Three Attitudes

Bitrate: 320K/s
Time: 73:14
Size: 167.6 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[5:35] 1. So In Love
[4:27] 2. Indian Summer
[3:59] 3. Fanfare
[5:17] 4. Last Night When We Were Young
[4:58] 5. On The Rocks
[4:12] 6. Passport To Pimlico
[4:51] 7. Strike Up The Band
[5:17] 8. Up In Quincy's Room
[4:05] 9. Isn't It Romantic
[4:30] 10. How Long Has This Been Going On
[4:19] 11. No Male For Me
[4:10] 12. The Flag Is Up
[4:10] 13. Get Off That Roof
[4:02] 14. Jim's Tune
[4:57] 15. No One But Me
[4:16] 16. Too Late Now

Two of Jimmy Raney's most remarkable albums make up this set. The performances on the first feature Bob Brookmeyer, Al Cohn, and Red Mitchell, all felicitous choices, since, in addition to being compatible and inventive soloists, their presence adds to the tonal palette and avoids the similarity in tonal color of most guitar records. But Raney also shows that his superiority in the quick, alert swinging of the up tempo tunes is balanced by his lyric work on the ballads. For the second album he teamed up once again with Brookmeyer, adding Osie Johnson, Teddy Kotick, adding pianists Dick Katz and Hank Jones, who combine taste and imagination with swinging time, on four tunes each. Among the several virtues of this quality example of the art of improvisation on relatively challenging thematic-and-chordal structures is the lucidity and logic with which all here approach, develop, and round off their solos. And, as with all of Raney's work, the music is polished, coherent and formidably well conceived and performed.

In Three Attitudes

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Holly Shelton - Errand Girl for Rhythm

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 37:33
Size: 87,2 MB
Art: Front

(3:32)  1. I'm an Errand Girl for Rhythm
(5:18)  2. When October Goes
(3:09)  3. Why Don't You Do Right?
(4:48)  4. Sophisticated Lady
(3:46)  5. The Frim Fram Sauce
(3:06)  6. Beale Street Blues
(3:22)  7. Nobody Knows You When You're Down and Out
(3:49)  8. Guess Who I Saw Today
(3:33)  9. The Rose Of Washington Square
(3:04) 10. Some Other Time

Rave reviews and repeat engagements are the norm for this six-foot tall beauty. Holly studied piano, guitar, violin, and ballet, earned a BFA in Theatre Performance, practices Pilates, and has totally mastered the art of Singer/Entertainer. She can turn on her southern charm, the ditsy humor displayed in “Jeopardy” TV commercials, the tasty touch of a Heinz Ketchup spot, the great body displayed in Clint Eastwood’s “Heartbreak Ridge”, the mellifluous voice on a nostalgic Bob Hope show, and the spell binding virtuosity that captivates everyone within earshot  all the while moving like satin from table to table, turning heads, and winning hearts. Based for several years at the 4-Diamond Perdido Beach Resort in Orange Beach, Alabama, she is in demand at jazz festivals, cabaret venues, organizational gatherings, et al. Stunning shows and costume accessories pizzazz the act and punctuate her versatility. From Memphis to Morocco to the Mediterranean, whether accompanied by piano alone, or with her eclectic group of exciting musicians, every event becomes special indeed. Audiences tap their toes and enthusiastically clap their toes for Holly. ~ Bio  http://www.last.fm/music/Holly+Shelton/+wiki

Personnel: Holly Shelton (vocals); Tim Jackson (flugelhorn, trombone, tuba); John Wynn (drums).

Errand Girl for Rhythm

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Al Cohn - Play It Now

Styles: Saxophone Jazz
Year: 2012

File: MP3@320K/s

Time: 39:47

Size: 92,5 MB

Art: Front

(6:08)  1. You're My Everything

(9:47)  2. Lover

(5:00)  3. Play It Now

(6:56)  4. Irresistable You

(6:16)  5. Georgia on My Mind

(5:39)  6. It's Sand, Man

Tenor saxophonist Al Cohn did some of his finest playing during his period (1975-80) with Xanadu. For this quartet set, Cohn is ably backed by the great bop pianist Barry Harris, bassist Larry Ridley and drummer Alan Dawson. Cohn, who had spent much of his career as a successful arranger/composer, contributed only one of the six numbers ("Play It Now") on the album and was content to jam spiritedly on such tunes as "Lover," "Irresistible You" and "It's Sand, Man." ~ Scott Yanow   

http://www.allmusic.com/album/play-it-now-mw0000897852.

Personnel:  Al Cohn tenor sax, Barry Harris piano, Larry Ridley bass, Alan Dawson drums

Play It Now

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Martina McBride - Everlasting

Styles: Country
Year: 2014
File: MP3@320K/s
Time: 48:25
Size: 112,4 MB
Art: Front

(3:33)  1. Do Right Woman, Do Right Man
(3:51)  2. Suspicious Minds
(3:32)  3. If You Don't Know Me By Now
(2:20)  4. Little Bit of Rain
(3:34)  5. Bring It on Home to Me (feat. Gavin DeGraw)
(2:58)  6. Come See About Me
(3:51)  7. What Becomes of the Brokenhearted
(3:48)  8. I've Been Loving You Too Long
(3:06)  9. Wild Night
(2:39) 10. In the Basement (feat. Kelly Clarkson)
(3:09) 11. My Babe
(2:42) 12. To Know Him Is to Love Him
(4:48) 13. By Your Side (Bonus Track)
(4:28) 14. Perfect (Bonus Track)

Contemporary country singer Martina McBride rose to stardom in the late '90s, starting out with a more traditionalist approach and later moving into more pop-friendly territory. She was born Martina Mariea Schiff in 1966 in Medicine Lodge, Kansas, and discovered country music through her father, who led a local band called the Schifters. By her teen years, she was singing and playing keyboards with the Schifters, and after high school she gigged around Kansas with several different bands. She married soundman John McBride, and in 1990 the couple moved to Nashville, where John worked for artists like Charlie Daniels and Ricky Van Shelton. Martina, meanwhile, worked as a demo singer and enlisted her husband to produce her demo tape, which got her signed to RCA in 1991. Around the same time, John was hired as Garth Brooks' production manager, which helped land Martina an opening slot on tour with Brooks.  Her debut album, The Time Has Come, was released in 1992, offering a set of songs indebted to traditional honky tonk and progressive-minded country-folk. The pop-inflected 1993 follow-up, The Way That I Am, was her commercial breakthrough, with the lead single "My Baby Loves Me" zooming up the country charts to the number two position. The affecting story-song "Independence Day" became something of a signature number, and another single, "Life #9," also reached the Top Ten. 

McBride's 1995 follow-up, Wild Angels, gave her a second Top Five hit in "Safe in the Arms of Love," and its title track became her first-ever number one single. Released in 1997, Evolution became her first Top Ten country album, and the Jim Brickman duet "Valentine" not only went Top Ten, but crossed over to become her first big hit on the adult contemporary charts. Evolution went on to spawn two number two hits ("Happy Girl" and "Whatever You Say") and two number one hits ("A Broken Wing" and "Wrong Again"), and sold over two million copies, launching McBride into the top rank of country stardom. She issued a Christmas album in late 1998 and returned with a proper follow-up, Emotion, in 1999. Its lead single, "I Love You," hit number one on the country charts and also crossed over to adult contemporary radio, and the follow-ups "Love's the Only House," "There You Are," and "It's My Time" were all successful as well (the first two also reached the Top Ten).  The Greatest Hits compilation released in 2001 was the first McBride album to top the country charts, and sold well enough to make the pop Top Five as well. It contained four new tracks, all of which were eventually released as singles; "Blessed" hit number one, and "When God-Fearin' Women Get the Blues" and "Where Would You Be" both reached the Top Ten. The self-titled Martina from 2003 celebrated womanhood, while 2005's Timeless was a collection of country classics; both became Top Ten album hits, the latter reaching number three. Waking Up Laughing appeared in 2007 from RCA Records. The CD/DVD set Live in Concert was issued in 2008, followed by Shine in 2009 from RCA. McBride next moved to the Republic Nashville label, which released her 11th studio album, the aptly named Eleven, in 2011. Returning to the studio at the end of 2013, McBride started recording her 12th album, 2014's Everlasting. Produced by Don Was, Everlasting was a departure that found McBride singing mainly soul and R&B covers, including Aretha Franklin's "Do Right Woman, Do Right Man" and the Supremes' "Come See About Me," and featured a duet with Kelly Clarkson on Etta James' "In the Basement."~Bio https://itunes.apple.com/us/artist/martina-mcbride/id215278#fullText

Everlasting

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Marty Grosz & Orphan Newsboys - Rhythm For Sale

Styles: New Orleans Jazz Revival
Year: 1996
File: MP3@224K/s
Time: 67:35
Size: 109,0 MB
Art: Front

(4:07)  1. Rhythm For Sale
(4:17)  2. Satan Takes A Holiday
(3:20)  3. Miss Annabelle Lee
(5:39)  4. Del Mar Drag
(4:05)  5. In A Little Spanish Town
(4:35)  6. Up Jumped You With Love
(4:33)  7. Rose Fo The Rio Grande
(4:35)  8. Ready For The River
(4:14)  9. Twenty-Four Hours A Day
(3:42) 10. Happy Feet
(5:04) 11. I Found A Million-Dollar Baby
(4:10) 12. I Love You
(3:21) 13. Let Yourself Go
(4:30) 14. Popinjay
(3:18) 15. One, Two, Button Your Shoe
(3:59) 16. Make Believe

Guitarist/vocalist Marty Grosz made a long string of rewarding and very enjoyable recordings for Jazzology throughout the 1990s. This particular CD features him in six settings from three different occasions, playing in settings ranging from a quartet to an octet. Ranging from classic jazz to small-group swing, the music features such notable players as cornetist Peter Ecklund, Dan Block (on alto and clarinet), clarinetist Bobby Gordon, Scott Robinson on reeds and pianist Keith Ingham among others. Grosz, who takes vocals on five of the 16 numbers, sounds typically joyful as he leads the troops through such numbers as "Satan Takes a Holiday," "Miss Annabelle Lee," "Happy Feet," "Let Yourself Go" and "Make Believe." Easily recommended to pre-bop jazz collectors. ~ Scott Yanow   http://www.allmusic.com/album/the-rhythm-for-sale-mw0000727953.

Personnel: Marty Grosz (vocals, guitar); Peter Ecklund (whistling, cornet); Jack Stuckey (clarinet, alto saxophone, baritone saxophone); Daniel Block (clarinet, alto saxophone); Bobby Gordon (clarinet); Scott Robinson (alto clarinet, tenor saxophone, baritone saxophone); Vince Giordano (bass saxophone); Pierre Calligaris (piano); Keith Ingham (celesta); Hal Smith , Arnie Kinsella (drums).

Rhythm For Sale

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Annette Neuffer Quintet - Easy To Love

Bitrate: 320K/s
Time: 60:13
Size: 137.9 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[6:34] 1. Only Have Eyes For You
[4:28] 2. What A Little Moonlight Can Do
[4:58] 3. Baby, Baby, All The Time
[5:43] 4. Someone To Watch Over Me
[4:37] 5. There Will Never Be Another You
[5:00] 6. Summer Samba
[5:23] 7. Now Or Never
[7:16] 8. Easy To Love
[6:18] 9. Shiny Stockings
[4:41] 10. This Is Always
[5:11] 11. On A Misty Night

Whether you're hearing double-talent Annette Neuffer for the first time, or following her musical progress for some 10 years as l have, you're in for a special treat with her latest release. She swings effortlessly with her lovely sonorous alto voice, never getting shrill or over-selling a good tune. This is real Jazz singing. Along with the wisely selected rhythm section of Bernhard Pichl, Rudi Engel and Jens Düppe, Ms. Neuffer creates just the right mood on selections as diverse as the bossa-nova "So Nice", and the deep bluesy "Baby All The Time". Check out her savvy handling of the seldom-heard verse to "Someone To Watch Over Me". And let's not forget her really fine trumpet alongside top tenorist Claus Koch, certainly one of the most swinging inventive saxmen out there today. Who could ask for anything more? Keep up the great work, Annette! ~AI Porcino

Annette Neuffer vocals, trumpet, flugelhorn; Claus Koch tenor sax; Bernhard Pichl piano; Rudi Engel bass; Jens Düppe drums.

Easy To Love

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Muggsy Spanier - The Only One

Bitrate: 320K/s
Time: 76:46
Size: 175.8 MB
Styles: Cornet jazz
Year: 2012
Art: Front

[2:43] 1. Someday, Sweetheart
[2:49] 2. At The Jazz Band Ball
[2:51] 3. I Wish I Could Shimmy Like My Sister Kate
[2:58] 4. Lonesome Road
[2:36] 5. Bluin' The Blues
[2:32] 6. Chicago
[3:01] 7. Big Butter And Egg Man
[3:12] 8. Relaxin' At The Touro
[2:36] 9. Eccentric
[3:06] 10. Can't We Be Friends
[2:27] 11. That Da Da Strain
[2:25] 12. Dippermouth Blues
[2:40] 13. Dinah
[2:58] 14. Livery Stable Blues
[2:58] 15. More Than You Know
[2:41] 16. Riverboat Shuffle
[4:35] 17. Sugar
[3:18] 18. Rosetta
[2:31] 19. At Sundown
[2:53] 20. Wreck Of The Old '97
[2:36] 21. Black And Blue
[3:02] 22. Hesitating Blues
[2:51] 23. Two O'clock Jump
[2:35] 24. Mandy Make Your Mind Up
[4:29] 25. Down To Steamboat Tennessee
[3:11] 26. Little David Play On Your Harp

Muggsy Spanier was a predictable but forceful cornetist who rarely strayed far from the melody. Perfectly at home in Dixieland ensembles, Spanier was also an emotional soloist (equally influenced by King Oliver and Louis Armstrong) who was an expert at using the plunger mute. He started on cornet when he was 13, played with Elmer Schoebel's band in 1921, and first recorded in 1924. Spanier was a fixture in Chicago throughout the decade (appearing on several important early records) before joining Ted Lewis in 1929. Although Lewis was essentially a corny showman, Spanier's solos gave his band some validity during the next seven years. After a stint with Ben Pollack's orchestra (1936-1938), Spanier became seriously ill and was hospitalized for three months. After he recovered, the cornetist formed his famous eight-piece "Ragtime Band" and recorded 16 Dixieland performances for Bluebird (later dubbed The Great Sixteen) that virtually defined the music of the Dixieland revival movement. But because his group actually preceded the revival by a couple years, it soon had to break up due to lack of work. Muggsy joined Bob Crosby for a time, had his own short-lived big band, freelanced with Dixieland bands in New York, and starting in 1950 he gradually relocated to the West Coast. During 1957-1959 Spanier worked with Earl Hines' band and he continued playing up until his retirement in 1964, touring Europe in 1960 and always retaining his popularity in the Dixieland world. ~Bio by Scott Yanow

The Only One

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Patricia Kaas - Kaas Chante Piaf

Styles: Chanson
Year: 2012
File: MP3@320K/s
Time: 61:53
Size: 142,0 MB
Art: Front

(4:42)  1. Mon Dieu
(4:38)  2. Padam Padam
(2:44)  3. Avec Ce Soleil
(5:07)  4. Milord
(2:31)  5. The 9th Hour
(4:13)  6. La Belle Histoire D'Amour
(2:37)  7. Les Amants Merveilleux
(4:06)  8. T'Es Beau Tu Sais
(4:20)  9. Hymne A L'Amour
(3:08) 10. C'Est Un Gars
(3:24) 11. Song For The Little Sparrow
(3:56) 12. La Foule
(3:01) 13. Mon Manege A Moi
(5:18) 14. La Vie En Rose
(4:58) 15. Non, Je Ne Regrette Rien
(3:01) 16. Je T'Ai Dans La Peau

This is the recording studio version of the concert Patricia Kaas gave at Carnegie Hall in tribute to the 50th anniversary of Edith Piaf's passing. She is backed by the Royal Philharmonic Orchestra, a small studio band accordion, bass, guitar, Theremin, keyboards and even a chorus under the direction of Abel Korzeniowski, who also arranged the material and produced the album. The live performance, while a commercial success, had its share of critics, including Piaf purists, who were quick to note that Kaas doesn't possess the vocal range of her subject. Kaas fans found the size and power of the orchestra too daunting for her to overcome. Both of these arguments are likely to follow this studio production, but ultimately, both are in error. The cinematic quality provided by the orchestra and her band adds a haunting drama to these proceedings that points toward Kaas' smoky, sometimes even raspy, lower register. She doesn't attempt to imitate Piaf, but to pay homage to her enduring legacy and celebrate her influence. Kaas never betrays herself as a modern vocalist in the process. Instead, by interpreting these songs in her own way, she makes plain that Piaf's music is not only a root source of inspiration, but a breathing, evolving, entity that defies the limits of time and offers instruction for French chanson as it continues to evolve. 

Check the shifting moods and textures in "Mon Manege a Moi," the slow, smoldering sensuality and tragedy at the heart of her reading of "Mon Dieu," and the raw need expressed in "La Belle Histoire D'Amour," introduced and punctuated heavy brass, and alternately colored by a slow, strolling electric bass, piano, bells, and even a bass drum. The nod to Astor Piazzolla's nuevo tango in the accordion's introduction to "Non, Je Ne Regrette Rien" is a nice touch (Piaf loved tango, as does Kaas) is offset by pastoral strings in the backdrop, vamping on a series of three chords before the singer enters with the orchestra. The song unfolds as a reverie before becoming an anthemic celebration of life and love no matter its ultimate cost. It's unlikely that Kaas Chante Piaf will please "pure" fans of either woman; but then, it's not supposed to. In offering such a unique, sensitive, perhaps even iconoclastic interpretation of Piaf, Kaas underscores her own reputation as one of the great musical artists of our era. ~ Thom Jurek   

http://www.allmusic.com/album/kaas-chante-piaf-mw0002434718

Personnel: Colin Green, Adam Goldsmith (guitar); Liz Varlow (viola); Chantal Webster (cello); Julian Jackson (harmonica); Eddie Hession (accordion); Cameron Todd (trumpet); Andrew Vinter, John Constable (keyboards); Anthony Alcock (double bass); Andrew Pask (bass guitar); Harold Fisher (drums); Christian Mason (Theremin).

Kaas Chante Piaf

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Mindy Carson - Baby, Baby, Baby

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 46:25
Size: 106,9 MB
Art: Front

(3:47)  1. Baby, Baby, Baby
(2:51)  2. I'm Not Just Anybody's Baby
(2:54)  3. I Don't Want to Walk Without You, Baby
(2:34)  4. Baby Face
(3:14)  5. Don't Cry, Cry Baby
(3:17)  6. My Melancholy Baby
(2:17)  7. Everybody Loves My Baby
(3:05)  8. I Can't Give You Anything But Love, Baby
(2:02)  9. I'm Nobody's Baby
(2:28) 10. My Baby Just Cares for Me
(2:05) 11. I Found a New Baby
(2:44) 12. Baby Won't You Please Come Home
(2:42) 13. Baby, I Love Ya Like Crazy [#]
(2:20) 14. Sentimental Touch
(2:23) 15. (What Can I Say) After I Say I'm Sorry [#]
(3:09) 16. My Foolish Heart
(2:26) 17. Knock on Wood (Holler Mazel Tov)

Use of the word baby isn't improved by repetition. Though it doesn't crop up often on this "concept" record including only songs with the word baby in the title, Mindy Carson's vocal histrionics succeed only in dating Baby, Baby, Baby as a relic of its time. Blessed with a strong voice that she wielded with much talent, Carson had unfortunately devolved, by the time this was recorded in 1958, into a belter who attempted to equal the lungs of Kay Starr without her impeccable jazz smarts. There are many excellent songs that fit the bill for entrée on this record "I Can't Give You Anything but Love, Baby," "My Baby Just Cares for Me," "My Melancholy Baby" and the charts by Glenn Osser and Sherman Edwards goose a well-worn standard quite well, but Carson fails to let any syllable cross her lips without worrying it to death. ~ John Bush   http://www.allmusic.com/album/baby-baby-baby-mw0000695953

Baby, Baby, Baby

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Chick Corea - Live in Montreux

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 73:33
Size: 168,4 MB
Art: Front

( 0:55)  1. Introduction
(10:25)  2. Hairy Canary
( 9:09)  3. Folk Song
(12:50)  4. Psalm
( 8:54)  5. Quintet, No. 2
( 8:11)  6. Up Up and...
(10:20)  7. Trinkle, Tinkle
( 6:36)  8. So in Love
( 4:09)  9. Drum Interlude
( 1:59) 10. Slippery When Wet

This important live recording from 1981 features the great pianist with a stunning group: Joe Henderson on tenor sax, Gary Peacock on bass, and Roy Haynes on drums. Haynes worked with Corea on many prior occasions, and Henderson was about to collaborate with him on the Griffith Park albums of the early '80s, but this is the first time the three appear together. Peacock's presence is an additional delight. The probing bassist contributes the multi-layered, magnificent "Up, Up and...."  Three of Corea's compositions here "Hairy Canary," "Folk Song," and "Slippery When Wet" would later wind up as bonus tracks on Stretch's 1994 reissue of the 1981 CD Three Quartets. In addition, there are valuable renditions of two dense and challenging Corea tunes, "Psalm" and "Quintet #2," along with two standards: Thelonius Monk's "Trinkle, Tinkle" and Cole Porter's "So in Love." The latter culminates in a four-minute Haynes drum solo.  Overall, the record is essential for fans of any and all of the four musicians involved. ~ David R.Adler   http://www.allmusic.com/album/live-in-montreux-mw0000626806

Personnel: Chick Corea (piano); Joe Henderson (tenor saxophone); Gary Peacock (bass); Roy Haynes (drums)

Live in Montreux

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Gabby Young - Mole

Styles: Indie, Pop/Rock
Year: 2006
File: MP3@320K/s
Time: 69:55
Size: 161,3 MB
Art: Front

(5:54)  1. Nothing's Changed
(5:04)  2. Crows
(5:47)  3. Umm
(5:39)  4. Maybe
(5:58)  5. Black Books
(5:37)  6. Broken Record
(4:56)  7. Down
(4:15)  8. Actually
(5:47)  9. Mole
(6:03) 10. Growing Pains
(5:15) 11. Love Vs. Hate
(3:13) 12. Weak
(6:22) 13. Let Me Be

Mole is Gabby Young's second album. She has had a very eventful year since her debut Album "Free Second Memory" was produced in a week prior to her successful Tour of the USA. Halfway through reocording Mole, Gabby discovered she had thyroid cancer. The subsequent operation to remove the thyroid was fraught with danger that her vocal chords would be damaged forever. Not very good timing one would say!However, three months down the line and Mole has been completed, and Gabbys voice is now as good as ever. The album is autobiographical and she tells it as it is. She uses full emotive story-telling and the end of this amazing record, one feels so enriched by the experience, that one is keen to listen again and again. With a this album hot of the press and a move to London imminent Gabby continues too sonically seduce hordes of new fans with her Beautifully honest and Blues laced Rock and Folk. Missing out on this is missing out Entirely !  http://www.cduniverse.com/productinfo.asp?pid=7353939&style=music&fulldesc=T

Mole

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Ilya Serov - September In The Rain

Bitrate: 320K/s
Time: 37:53
Size: 86.7 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[3:50] 1. September In The Rain
[3:52] 2. All Of Me
[4:42] 3. You Go To My Head
[4:03] 4. Our Love Is Here To Stay
[3:25] 5. The Girl From Ipanema
[3:54] 6. I've Got The World On A String
[3:15] 7. Dream A Little Dream Of Me
[2:54] 8. But Not For Me
[4:53] 9. When We Remake Love Tonight
[3:01] 10. Honeysuckle Rose

Los Angeles – based trumpeter/vocalist/songwriter ILYA SEROV has been hailed as one of the most versatile young jazz singer - trumpeters of his generation. Originally from St. Petersburg, Russia, he has graduated from the oldest academy of music in Russia (St.–Petersburg Conservatory of Music named after N.A. Rimsky – Korsakov). Ilya has performed as a guest artist in the United States and Europe. He is best known for his dazzling trumpet solos, smooth vocals and his own arrangements of jazz standards and original compositions influenced by jazz, R&B, pop and world music.

.September In The Rain.

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Harry Allen - Dreamer

Bitrate: 320K/s
Time: 63:20
Size: 145.0 MB
Styles: Saxophone jazz
Year: 2009
Art: Front

[4:32] 1. Change Partners
[6:25] 2. A Night In Tunisia
[5:32] 3. Out Of This World
[3:12] 4. The Shining Sea
[4:11] 5. O Morro (Nao Tem Vez)
[6:18] 6. Vivo Sonhando (Dreamer)
[4:58] 7. Dindi
[3:55] 8. Bye Bye Blackbird
[6:11] 9. The Shadow Of Your Smile
[6:24] 10. Silent Motion
[4:30] 11. Estate
[3:35] 12. Triste
[3:31] 13. O Que Tinha De Ser

A collection of Brazilian and American standards mostly arranged by Brazilian guitarist/arranger Dori Caymmi featuring an all-L.A. rhythm section and cello quartet on four tracks and clarinet quartet on one.

Harry Allen - tenor saxophone; Dori Caymmi - accoustic guitar, vocal; Bill Cantos - piano, synthesizer; Jerry Watts - electric bass; Michael Shapiro - drums, percussion; Kevyn Lettau - vocal; Gary Meek - clarinet, bass clarinet; Steve Richards - cello; Susie Katayama - cello; Daniel Smith - cello; Larry Korbett - cello

Dreamer

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Sandra Dudley - Close To You

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 63:47
Size: 147,5 MB
Art: Front

(3:53)  1. Dearly Beloved
(6:52)  2. In Walked Bud
(6:24)  3. September Song
(5:23)  4. West Coast Blues
(5:25)  5. Close To You
(4:08)  6. Hallucinations
(5:15)  7. I Concentrate On You
(5:58)  8. Billie
(5:46)  9. Some Of My Best Friends Are The Blues
(4:53) 10. Red Moon
(4:47) 11. The Wrong Blues
(4:58) 12. A House Is Not A Home

Sandra Dudley is a versatile jazz vocalist who performs standards, bebop and original songs with a "pristine, horn-like clarity", writes Tim Carman, former writer of the Houston Post. "There's a husky resonance that gives her music a blue spirit, a kind of honest, lived-in quality that is both inviting and heartbreakingly human." "Jazz opens my heart to a spiritual experience. When I sing, I want to speak to the soul," says Dudley of her art. Dudley, a native of Buffalo, New York, grew up with jazz all around her. Her father, an amateur singer, exposed her to some of the music of the great jazz singers and big band leaders. Her early childhood music studies included lessons on pop organ, piano and voice. Following high school, Sandra attended Fredonia State University where she studied classical voice and opera. While at Fredonia, she placed in the regional finals of the Metropolitan Opera National Council Auditions, and finished with high merit in the NATS Competition at Carnegie Hall in New York City. Sandra was performing jazz along with classical in performances with the Fredonia Jazz Ensemble and the Fredonia Symphony Orchestra. 

"I felt I had the best of both worlds learning about classical and commercial. I was lucky to have hip teachers who would allow it. Both idioms feed off each other in so many ways." Upon graduation from Fredonia, Dudley attended Eastman School of Music in Rochester, New York where she studied with world-renowned mezzo-soprano Jan DeGaetani. There she studied classical and twentieth century music, including jazz. "I took jazz history with pianist Bill Dobbins and learned so much about jazz from his stories and experiences." Upon graduation with her Masters in Voice Performance, Sandra performed jazz with the Eastman School of Music Studio Orchestra and began to sing in jazz clubs throughout New York. Teaching was equally important, and in the following years Sandra taught classical and jazz voice at St. Francis Xavier University in Nova Scotia, Canada and music at the University of Houston in Texas. She is currently Assistant Professor of Commercial Voice at Belmont University in Nashville, Tennessee where she has taught applied voice, jazz vocal styles, and directed the jazz vocal ensemble, Jazzmin since 1995. In 1994, Dudley made her national recording debut singing "Little Prayer" on an album entitled " Last Night When We Were Young: The Ballad Album" on the Classical Action label, produced by Fred Hersch. "All proceeds went to AIDS research. It was one of the warmest and most endearing experiences of my life thus far". 

The project also featured performances by George Shearing, Phil Woods, Toots Thielemans, Mark Murphy, and Gary Burton, among others. Dudley won a jazz songwriting contest sponsored by Jazziz magazine with her composition "Billie". She can be heard singing it on a compilation CD "Vocals on Fire", which was released in the February 1998 issue of Jazziz. Sandra Dudley has been performing jazz for nearly two decades. While in Canada, she performed on CBC Radio and Television and in concert halls and clubs across the Atlantic Provinces. In 1993 Dudley became the feature vocalist for the Nelson Riddle Orchestra under the direction of Chris Riddle. "To sing the same arrangements that Frank Sinatra and Ella sang was a real thrill!" Dudley has performed at the Moncton Jazz Festival, Jazz at the Albright Knox in Buffalo, the Houston International Festival, the Texas Jazz Festival in Corpus Christi, the Tennessee Jazz and Blues Society's summer concert series, the Franklin Jazz Festival, and many others. Dudley was heard on National Public Radio in 1996 when her performance at "Jazz in June" from Oklahoma City was broadcast. She has performed with, among others, legendary guitarist Barney Kessel, Canadian pianist Oliver Jones, New York pianist Fred Hersch, saxophonist/flutist Bobby Militello, trumpeter Marvin Stamm, pianist/husband Bruce Dudley, Houston pianist Dave Catney, and Houston drummer Sebastian Whittaker. 

Sandra is presently the featured singer with The Jazz Orchestra of the Delta under the direction of Dr. Jack Cooper. A CD with the Memphis based band called "Big Band Reflections of Cole Porter" was released June, 2003 on the Summit Label and is receiving critical acclaim. Sandra's first solo CD, "Close To You" has just been released independently. The project features a seasoned band featuring Sandra's husband-pianist/arranger Bruce Dudley, bassist Roger Spencer, drummer Jim White and saxophonist Denis Solee. Special guests include trombonist Barry Green and trumpeter George Tidwell. "Close To You" is a pleasing mix of standards and originals. Sandra's creative rendition of the Burt Bacharach tune "Close To You" is one of the highlights of the album. Sandra Dudley is a dedicated jazz musician who believes in staying true to the art form. Her exuberant stage presence, sophisticated scatting ability, and tender ballad interpretations make her one of the most captivating performers on the scene today. http://www.cdbaby.com/cd/sandrad

Close To You

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Sue Raney - Breathless!

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 44:30
Size: 103,9 MB
Art: Front

(2:53)  1. Angel Eyes
(2:09)  2. There Be Some Changes Made
(2:33)  3. Breezin' Along With The Breeze
(2:19)  4. My Lucky Day
(2:34)  5. 'Deed I Do
(3:07)  6. Their Hearts Were Full Of Spring
(2:08)  7. It'S D'Lovely
(2:44)  8. September In The Rain
(1:58)  9. I'm In Love With The Honorable Mr. So And So
(1:58) 10. Wrap Your Troubles In Dreams
(2:33) 11. Does Anybody Here Love Me?
(3:16) 12. The Boy Next Door
(1:57) 13. Breathless
(3:14) 14. Holiday For Strings
(2:04) 15. Bluesette
(2:32) 16. Cry Me A River
(2:27) 17. While We'Re Young
(1:53) 18. Some Of These Days

Sue Raney has always had a very attractive voice, a wide range with total control, and the ability to swing in a very appealing fashion. She has recorded relatively few jazz albums through the years, making this previously unreleased collection a bit of a gap-filler. Mostly taken from live radio performances, Raney is heard during 1960-1961 with pianist Page Cavanaugh (in both quartet and septet settings), accompanied by the Buddy DeFranco/Tommy Gumina Quartet in 1963, and joined by a small group headed by Shelly Manne in 1969 or 1970. The focus throughout the generally brief selections is on the singer, who is in prime voice throughout. Highlights include "Angel Eyes," "My Lucky Day," the humorously rapid "Breathless," a slower-than-usual rendition of "Holiday for Strings" and "Bluesette." Recommended. ~ Scott Yanow   http://www.allmusic.com/album/breathless-mw0000594609.

Personnel: Sue Raney (vocals, keyboards).

Breathless

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Chris Standring - Soul Express

Styles: Jazz Funk, Smooth Jazz
Year: 2006
File: MP3@320K/s
Time: 52:22
Size: 133,1 MB
Art: Front + Back

(4:08)  1. Catwalk
(4:42)  2. Kaleidoscope
(6:16)  3. Constellation
(5:14)  4. A Method To The Madness
(4:21)  5. I Can't Help Myself
(4:38)  6. Soul Express
(4:21)  7. Through The Looking Glass
(4:17)  8. Mumbo Jumbo
(4:25)  9. As
(4:43) 10. Shooting Stars
(5:11) 11. Giant Steps

Los Angeles-based British expatriate guitarist Chris Standring's eclectic collection of smooth jazz instrumentals contains elements of acid jazz on songs like "A Method to the Madness" and "Shooting Stars," silky R&B on "I Can't Help Myself," and electronica on the dreamy "Kaleidoscope." Standring's fluid, accessible style recalls George Benson at his jazz crossover best, while compositions like "Giant Steps" and "Constellation" are high-quality chill-out mood music. 

http://www.allmusic.com/album/soul-express-mw0000419432

Soul Express

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Ben Webster & Coleman Hawkins - Tenor Giants

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 77:29
Size: 190,2 MB
Art: Front

( 6:33)  1. Maria
( 5:51)  2. It Never Entered My Mind
( 4:19)  3. You'd Be So Nice To Come Home To
( 5:07)  4. La Rosita
( 6:50)  5. Blues For Yolanda
( 4:17)  6. Prisoner Of Love
( 5:25)  7. Tangerine
( 2:40)  8. Cocktails For Two
( 4:53)  9. Shine On Harvest Moon
( 6:08) 10. Budd Johnson
( 4:38) 11. Time After Time
(20:41) 12. In A Mellow Tone

A late 70s pressing of some classic Verve sides from the 50s, featuring two masters of the tenor, blowing side by side in a couple of small group settings: one with rhythm backing by Oscar Peterson, Herb Ellis, Ray Brown, and Alvin Stoller and the other with Jimmy Jones, Les Spann, Ray Brown and Jo Jones, plus Roy Eldridge and Budd Johnson in the frontline. The best tracks have lots of room – plenty of space so that the tenors aren't butting heads with each other in too close of quarters, with space to express themselves freely. Titles include "Blues For Yolande", "La Rosita", "Shine On Harvest Moon", "You'd Be So Nice To Come Home To", "It Never Entered My Mind", "De-Dar", "Time After Time", "Young Bean" and "In A Mellowtone". (Sides 1 and 3 have light residue that causes the vinyl to play with some noise. Cover has some spots of sticker residue and some light scratches.)   http://www.dustygroove.com/item/423048/Ben-Webster-Coleman-Hawkins:Tenor-Giants

Tenor Giants

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