Rondi Charleston - In My Life

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 61:28
Size: 144,2 MB
Art: Front

(3:22)  1. Beautiful
(3:37)  2. Until
(4:56)  3. In My Life
(4:42)  4. Someone to Light Up My Life
(5:07)  5. Bewitched, Bothered, and Bewildered
(4:51)  6. Ancient Steps
(4:08)  7. I'm Old Fashioned
(4:19)  8. I Believe in You
(4:43)  9. Baby Don't Quit Now
(4:33) 10. Estate
(3:41) 11. Shall We Dance
(3:30) 12. Waltz for Debby
(5:20) 13. Telescope
(4:34) 14. Fragile as a Song

This CD, In My Life, should help this talented vocalist achieve the recognition she deserves. Two fine earlier recordings on LML Music (2001's Love Letters and 2004's Love Is The Thing) did not receive wide notice or distribution. This release, accompanied by a Virgin Megastores national in-store performance tour, should change that. Charleston and pianist/musical director Bruce Barth have chosen an eclectic collection of material. It ranges from well-known Great American Songbook tunes, "Bewitched, Bothered and Bewildered" and "I'm Old Fashioned to the lesser-known, "Baby Don't Quit Now," by Johnny Mercer and Jimmie Rowles. It includes two Tom Jobim songs, a Bill Evans gem, the Lennon and McCartney title track and the Charleston/Barth composition, "Telescope." Sting and Carole King are also both represented. Only four selections overlap between the two discs. Charleston proves equally adept at all of it, weaving the disparate material into a memorable performance. Charleston's voice is both polished and powerful. She is equally capable of caressing the lyrics as she does on "Waltz for Debbie" and "Estate, or swinging authoritatively as she does on the Jobim songs. "I love the tradition of jazz, says Charleston, "and how...it encourages artists to creatively move the music forward, beyond the genre, expanding one's own musical vocabulary." Her performance of "Beautiful, from King's classic Tapestry (Ode, 1971), offers an excellent example of Charleston's rapport with tenor saxophonist Joel Frahm, lifting the song to another level, with guitarist Adam Rogers contributing one of several outstanding solos. 

That rapport between Charleston and Frahm puts its stamp on much of the music. Frahm's solo on The Beatles' tune is one of many fine contributions. Barth, whose work with vocalists includes, notably, a recent stint with Tony Bennett and who shares credit for these arrangements with Charleston, also stands out. Their collaboration on "Bewitched is truly lovely. Frahm again solos impressively. The musicians include Sean Smith on bass and Hadar Noiberg on flute, as well as Clarence Penn on drums (Alvester Garnett replaces Penn on the DVD). Some CD tracks include very tasteful and subtle strings arranged by Barth. The inclusion of the DVD adds something substantial. The CD recording stands on its own as a fine piece of work, however watching Charleston live with her talented band reinforces the impression that she is a special talent. The jazz world should take notice. ~ Geoff Mirelowitz   

http://www.allaboutjazz.com/php/article.php?id=27425#.U1Bnb1dSvro

Personnel:  Rondi Charleston: vocals; Bruce Barth: piano; Sean Smith: bass; Clarence Penn: drums; Joel Frahm: tenor saxophone; Adam Rogers: guitars; Hadar Noiberg; flute; Erik Charleston: vibes; Barbara Allen: harp; Meg Okura: strings; Tanya Kalmanovitch: strings; Antoine Silverman: strings; Mary Wooten: strings.

In My Life

---

Ella Fitzgerald - The Diamond Collection

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 179:22
Size: 416,4 MB
Art: Front

(4:01)  1. I Get a Kick Out of You
(2:46)  2. I've Got You Under My Skin
(3:33)  3. Just One of Those Things
(5:30)  4. Prelude to a Kiss
(3:54)  5. My Funny Valentine
(5:00)  6. Summertime (feat Louis Armstrong)
(3:25)  7. Fascinatin' Rhythm
(3:32)  8. Ev'ry Time We Say Goodbye
(3:08)  9. I Got Rhythm
(5:21) 10. Sophisticated Lady
(3:37) 11. So Rare
(3:33) 12. A Foggy Day
(5:14) 13. Stormy Weather
(3:16) 14. Lover
(4:52) 15. Embraceable You
(4:53) 16. Embraceable You (Remastered)
(3:17) 17. How About Me?
(3:26) 18. Isn't It a Pity?
(3:52) 19. The Man I Love
(2:57) 20. Let's Face the Music and Dance
(3:16) 21. Change Partners
(3:34) 22. But Not for Me
(3:28) 23. (You Forgot To) Remember
(2:36) 24. Imagination
(3:24) 25. The Lady Is a Tramp
(2:37) 26. My One and Only
(2:17) 27. Puttin' on the Ritz
(3:39) 28. Lush Life
(3:15) 29. I've Got a Crush on You
(3:14) 30. I Concentrate on You
(1:44) 31. All of You
(3:55) 32. Love Is Here to Stay
(3:38) 33. Begin the Beguine
(3:31) 34. Georgia on My Mind
(2:50) 35. Manhattan
(3:30) 36. 'S Wonderful
(3:05) 37. Dream a Little Dream of Me
(5:54) 38. Love for Sale
(2:09) 39. Solitude
(2:53) 40. Misty
(4:58) 41. Mack the Knife
(2:45) 42. With a Song in My Heart
(4:10) 43. That Old Black Magic
(3:05) 44. Night and Day
(3:12) 45. Tenderly
(3:17) 46. I've Got the World on a String
(3:13) 47. But Not for Me
(4:01) 48. Star Dust
(3:53) 49. The Man I Love
(2:47) 50. In a Sentimental Mood

"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. The one fault was that, since she always sounded so happy to be singing, Fitzgerald did not always dig below the surface of the lyrics she interpreted and she even made a downbeat song such as "Love for Sale" sound joyous. However, when one evaluates her career on a whole, there is simply no one else in her class. One could never guess from her singing that Ella Fitzgerald's early days were as grim as Billie Holiday's. Growing up in poverty, Fitzgerald was literally homeless for the year before she got her big break. In 1934, she appeared at the Apollo Theater in Harlem, winning an amateur contest by singing "Judy" in the style of her idol, Connee Boswell. 

After a short stint with Tiny Bradshaw, Fitzgerald was brought to the attention of Chick Webb by Benny Carter (who was in the audience at the Apollo). Webb, who was not impressed by the 17-year-old's appearance, was reluctantly persuaded to let her sing with his orchestra on a one-nighter. She went over well and soon the drummer recognized her commercial potential. Starting in 1935, Fitzgerald began recording with Webb's Orchestra, and by 1937 over half of the band's selections featured her voice. "A-Tisket, A-Tasket" became a huge hit in 1938 and "Undecided" soon followed. During this era, Fitzgerald was essentially a pop/swing singer who was best on ballads while her medium-tempo performances were generally juvenile novelties. She already had a beautiful voice but did not improvise or scat much; that would develop later. On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front the orchestra even though she had little to do with the repertoire or hiring or firing the musicians. She retained her popularity and when she broke up the band in 1941 and went solo; it was not long before her Decca recordings contained more than their share of hits. She was teamed with the Ink Spots, Louis Jordan, and the Delta Rhythm Boys for some best-sellers, and in 1946 began working regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager although it would be nearly a decade before he could get her on his label. A major change occurred in Fitzgerald's singing around this period. 

She toured with Dizzy Gillespie's big band, adopted bop as part of her style, and started including exciting scat-filled romps in her set. Her recordings of "Lady Be Good," "How High the Moon," and "Flying Home" during 1945-1947 became popular and her stature as a major jazz singer rose as a result. For a time (December 10, 1947-August 28, 1953) she was married to bassist Ray Brown and used his trio as a backup group. Fitzgerald's series of duets with pianist Ellis Larkins in 1950 (a 1954 encore with Larkins was a successful follow-up) found her interpreting George Gershwin songs, predating her upcoming Songbooks series. After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald signed with Norman Granz's Verve label and over the next few years she would record extensive Songbooks of the music of Cole Porter, the Gershwins, Rodgers & Hart, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. Although (with the exception of the Ellington sets) those were not her most jazz-oriented projects (Fitzgerald stuck mostly to the melody and was generally accompanied by string orchestras), the prestigious projects did a great deal to uplift her stature. 

At the peak of her powers around 1960, Fitzgerald's hilarious live version of "Mack the Knife" (in which she forgot the words and made up her own) from Ella in Berlin is a classic and virtually all of her Verve recordings are worth getting. Fitzgerald's Capitol and Reprise recordings of 1967-1970 are not on the same level as she attempted to "update" her singing by including pop songs such as "Sunny" and "I Heard It Through the Grapevine," sounding quite silly in the process. But Fitzgerald's later years were saved by Norman Granz's decision to form a new label, Pablo. Starting with a Santa Monica Civic concert in 1972 that is climaxed by Fitzgerald's incredible version of "C Jam Blues" (in which she trades off with and "battles" five classic jazzmen), Fitzgerald was showcased in jazz settings throughout the 1970s with the likes of Count Basie, Oscar Peterson, and Joe Pass, among others. Her voice began to fade during this era and by the 1980s her decline due to age was quite noticeable. Troubles with her eyes and heart knocked her out of action for periods of time, although her increasingly rare appearances found Fitzgerald still retaining her sense of swing and joyful style. By 1994, Ella Fitzgerald was in retirement and she passed away two years later, but she remains a household name and scores of her recordings are easily available on CD.  https://itunes.apple.com/gb/artist/ella-fitzgerald/id73568#fullText

The Diamond CollectionPart.1

The Diamond CollectionPart.2

---

Saskia Laroo - Sunset Eyes 2000

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:45
Size: 139,6 MB
Art: Front

(6:01)  1. Nothing But The Truth
(5:04)  2. Moving In
(6:12)  3. There Is No Greater Love
(5:30)  4. Sunset Eyes
(6:56)  5. Cheek To Cheek
(5:38)  6. Don't Touch Me
(4:56)  7. The Blue Sombrero
(3:43)  8. I Got It Bad
(4:24)  9. Wheelin' And Dealin'
(7:35) 10. Blue Bossa
(4:40) 11. Sunset Eyes Latin

In 1999, Dutch trumpeter Saskia Laroo traveled to Los Angeles, where she joined forces with tenor sax great Teddy Edwards and recorded her fourth album, Sunset Eyes 2000. Any album that prominently features Edwards (who she co-led the session with) is at least noteworthy, and to be sure, the tenor veteran is in good to excellent form on this hard bop date. Laroo's previous straight-ahead album, Jazzkia, was essentially a tribute to Miles Davis, one in which her love of Davis' legacy was so strong that it drowned out any individuality. Laroo doesn't sound distinctive on Sunset Eyes 2000 either, but even so, her solos on this album are likable and competent. Recalling Miles Davis in the '40s and '50s, Laroo is a very lyrical player, and Edwards can certainly be quite lyrical and melodic himself. But while Edwards favors a big, fat tone and swings hard and passionately, Laroo is much more subtle, restrained, and economical (as was Davis). Edwards' confident, focused solos on both standards and his own compositions make Sunset Eyes 2000 worth the price of admission, and singer Ernie Andrews' inspired guests spots on "Don't Touch Me" and "Sunset Eyes" aren't anything to complain about either. Sunset Eyes 2000 falls short of being a gem, but it's a satisfying, decent effort that bop fans will enjoy. ~ Alex Henderson   http://www.allmusic.com/album/sunset-eyes-2000-mw0000253668

Personnel : Saskia Laroo (trumpet); Ernie Andrews (vocals); Teddy Edwards (tenor saxophone); Art Hillary, Wendell Williams, Gerrick King. Personnel: Saskia Laroo (trumpet); Ernie Andrews (vocals); Teddy Edwards (tenor saxophone); Art Hillary (piano).

Sunset Eyes 2000

---

David Ari Leon - The Piano Tribute To Neil Young

Styles: Piano
Year: 2005
File: MP3@256K/s
Time: 38:56
Size: 72,2 MB
Art: Front

(3:34)  1. My My, Hey Hey (Out Of The Blue)
(3:23)  2. Harvest Moon
(3:34)  3. Old Man
(3:23)  4. Heart Of Gold
(3:00)  5. Helpless
(3:25)  6. Wrecking Ball
(3:28)  7. Long May You Run
(3:03)  8. Southern Man
(3:42)  9. Powderfinger
(2:42) 10. The Needle And The Damage Done
(2:34) 11. Ohio
(3:03) 12. Rolling Home To You

David Ari Leon (born December 12, 1967) is an American composer, musician and music supervisor. He is best known for writing and supervising music for Marvel Entertainment on titles such as Spider-Man and Incredible Hulk. Leon is a songwriter on the themes to the Marvel series Avengers and Super Hero Squad, and he composed the main title music to the shows Xyber 9 and Mr. Bill Presents. Leon was featured as a musician on NPR’s syndicated program Morning Edition in five episodes between the years 2005 to 2010. He was also featured on the album Rockabye Baby! Baby’s Favorite Rock Songs, which was available exclusively at Starbucks March 23-April 19, 2010. The album reached #3 on Billboard’s Kids Albums chart, #18 on the Billboard Independent Albums, and #111 on the Billboard Top 200. It contains a version of the Rolling Stones song Ruby Tuesday that Leon performed and produced for the Rockabye Baby! series, which also features the artists Björk, Journey and Kanye West. 

In 1990, Leon received a B.A. degree from UCLA in music composition, where he focused on piano performance, film scoring and electronic music production. While attending the college, he did internships with Academy Award nominated composers, Mark Isham and Danny Elfman, the latter of which resulted in Leon’s first feature film credit on the Clive Barker movie, Nightbreed. Immediately following college, Leon worked on Days of Our Lives, garnering him an Emmy nomination for “Outstanding Music Director.” In 1994, Leon began working for New World, the parent company of Marvel at that time, as Music Director and composer on the TV series Valley of the Dolls. The following year (1995) was the start of his work for Marvel as composer and music supervisor on the show Spider-Man in addition to other titles for Fox Kids. Leon subsequently held a Vice President of Music title for Fox from 1997 to 2002. 

During that time, he supervised music for Fox Family (now ABC Family) as well as Fox Kids. Also during that period as a music VP for Fox, Leon received music supervisor credits on many film and television projects such as the movie “Les Miserables” starring John Malkovich and the primetime series “State of Grace” for ABC Family starring Frances McDormand. Leon left ABC Family in 2002 and established Sound Mind Music, which is his active company today. More recently, Leon performed and arranged songs for a series of albums on Vitamin Records by artists including Neil Young, The Cure, R.E.M. and Pink Floyd. Starting in 2009, Leon has been writing and supervising music for a series of Motion Comics for Marvel, beginning with The Astonishing X-Men by Joss Whedon. In 2011, Leon wrote the music for an iPhone/iPad game for the Chillingo division of Electronic Arts, the publisher of the hugely successful Angry Birds game app. The game is slated to be released in 2011 along with the movie Thor: Tales of Asgard which Leon music supervised and is a co-production between Marvel and Lions Gate Entertainment. ~ Bio  http://www.last.fm/music/David+Ari+Leon/+wiki

The Piano Tribute To Neil Young

---

Katie King - One For My Baby

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 58:33
Size: 134,6 MB
Art: Front

(3:52)  1. There'll Be Some Changes Made
(3:31)  2. Lover Come Back To Me
(4:46)  3. Don't Worry 'Bout Me
(3:08)  4. Early In the Morning
(5:09)  5. If I Had You
(5:41)  6. What A Wonderful World
(3:15)  7. I'm Old Fashioned
(5:20)  8. Steppin' Out
(4:46)  9. Ain't Misbehavin'
(3:27) 10. Everything Happens To Me
(4:20) 11. Clear Out of This World
(3:19) 12. Good Ol' Wagon
(4:16) 13. One For My Baby
(3:36) 14. Blue Prelude

All too often, talented singers have been sabotaged by clueless A&R people if the singer isn't saddled with incompetent musicians, he or she is given inappropriate songs to work with. But One for My Baby is just the opposite; in fact, this CD is an example of intelligent, thoughtful A&R and the right decisions being made. Katie King is accompanied by competent Seattle jazzmen, and all of the songs chosen are appropriate for her. One of King's strong points is sassy, playful blues, and Z.Z. Hill's "Steppin' Out," Bessie Smith's "Good O' Wagon," and Louis Jordan's "Early in the Morning" are perfect choices. Another major asset is King's sultry, bluesy way with ballads and torch songs, and she couldn't have had more appropriate vehicles than "Everything Happens to Me" and "One for My Baby." Finally, there's King's need for the occasional fast-tempo bop swinger, and "Love Come Back to Me" and "I'm Old Fashioned" fill that need nicely. Because the right decisions were made, One for My Baby paints an appealing and cohesive picture of King's talents. ~ Alex Henderson   http://www.allmusic.com/album/one-for-my-baby-mw0001079859

One For My Baby

---

Nina Simone - Baltimore

Styles: Vocal Jazz
Year: 1978
File: MP3@320K/s
Time: 37:06
Size: 86,4 MB
Art: Front

(4:40)  1. Baltimore
(3:59)  2. Everything Must Change
(5:00)  3. The Family
(4:56)  4. My Father
(3:42)  5. Music For Lovers
(3:15)  6. Rich Girl
(2:53)  7. That's All I Want From You
(2:56)  8. Forget
(2:25)  9. Balm In Gilead
(3:17) 10. If You Pray Right

Toni Morrison said: "Nina Simone saved our lives. She was several women." In her brilliant song "Four Women", recorded in 1965, Simone sings about four very different black women, one who lives "Between two worlds", another who says: "I'm awfully bitter these days because my parents were slaves..."  In his new biography of the great jazz diva, David Brun-Lambert asserts: "If you listen carefully to her music, you hear within in it two opposite people, two beings with nothing in common, as though trapped together and forced to share the same means of expression. An artist leading a double artistic life, unable to find her own place anywhere." Nina Simone was born Eunice Kathleen Waymon in 1933 into a family that was doing fine until the Great Depression came along. She grew up, poor, in a small town, Tryon, North Carolina, a few miles from the Mason-Dixon line, the invisible frontier that separates America into the north and the south. Some of her earliest memories were of her mother singing "Heaven Belongs to You". It became the soundtrack to her life. It played underneath the Bach that she learned as a child prodigy who experienced the glory of a good piano teacher. "The first time I went to Mrs Massinovitch's house, I almost fainted it was so beautiful," Simone wrote in her autobiography, I Put a Spell on You. 

And it played over the blues and folk she later sang when she got turned down by the Curtis Institute, ending her hopes of becoming a classical pianist. "I never got over it. I still haven't got over it and I never will," Simone said. "Anyone in Tryon would have told you black children don't get to be concert pianists."  Aged two and a half, the small Eunice could play "God Be With You Till We Meet Again" on the organ. "Just a few people could do it, Callas, Rubinstein and me," Nina wrote. Nina Simone, the pastor's daughter, mixed humility with hubris and it was a deadly cocktail. Perhaps the modesty and the monstrosity were both needed to fuel the genius, to fuse the two worlds - classical music and jazz. Eunice Waymon became Nina Simone so that her mother wouldn't find out she was singing the devil's music. At the age of 21, she got a job as a pianist in the Midtown Bar and Grill. "As soon as I got there, I was asked whether I could sing. I said no but they demanded that I sing ... so I sang and this is how my career in the business started." As a child, her beloved piano teacher had organised a recital at Tryon Town Hall. Eunice was about to play The Art of Fugue when she noticed a couple of white people asking her parents to give up their seats. Eunice stood up, aged 10, and said she wouldn't play unless her parents got to keep their seats. Brun-Lambert charts the birth of Nina Simone the artist, her musical successes, her terrible marriage to her manager, Andy Stroud, her bad relationships, her fragile mental state, her bipolar disorder, her gigs, her gigs, her gigs. 

He charts her friendships with folk singer Odetta, Lorraine Hansberry (for whom she wrote the seminal "To Be Young, Gifted and Black") and Miriam Makeba. Most of all, he charts her terrible loneliness. "I was different. I had no community at the back of me. I was a national star ... I was rich and famous but I wasn't free," Simone said in I Put a Spell on You. He is good at mapping her political awakening and the rise of black power, Martin Luther King, Malcolm X, Simone's developing consciousness. Over the years, Simone's music became the perfect soundtrack to the events tearing America apart. The paranoid and volatile Simone is the woman who emerges most clearly from this biography, the one whom audiences at Ronnie Scott's would recognise, the diva who arrived late, harangued her audience and screamed at them: '"Nobody's going to sleep tonight." After a while, the biography depresses and almost demeans Nina Simone as Brun-Lambert recounts tale after tale: Nina pissing in the corridors of a concert hall and cancelling the concert; the time she shot a boy in her neighbourhood with an airgun because he was making too much noise. The Simone prowling these pages is not so much four women as one: a drunken, abusive, selfish, bad mother of a woman who was estranged from her only daughter, who fell out with her beloved father, who treated her musicians badly, who was frightening, intimidating and who herself was frightened and intimidated. Brun-Lambert depicts Nina Simone, the tormented soul. 

Her family's way of dealing with racism was to turn away from prejudice and live your life as best you could, as if acknowledging the existence of racism was in itself a kind of defeat. Going from child prodigy to suddenly being exposed to the anomalies of racism was too much for Simone and seemed to bring about her frequent and terrible bouts of paranoia, depression and fear. It would have been interesting if Brun-Lambert had explored this in more depth. Fewer gigs and more analysis would have made for a better biography. Nina pronounced she would die at 70; anything after that would be too much pain. And she did. All of her selves together: the complicated women that housed the one Nina Simone. Please don't let me be misunderstood, Simone sang. Yet perhaps she has been misunderstood in this well-intentioned, page-turning, but slightly tabloidy biography, which dishes the dirt but doesn't ever really get under her skin. If only her life could have offered the safety and elegance of Mrs Massinovitch's house. The tragedy of Nina Simone is that, though she might have saved lives, she could never save her own. ~ Jackie Kay is a poet and short-story writer. http://www.theguardian.com/books/2009/apr/05/nina-simone-biography-review

Baltimore

---

The New York Allstars - Broadway

Styles: Big Band
Year: 1998
File: MP3@320K/s
Time: 57:53
Size: 133,2 MB
Art: Front

(6:02)  1. Broadway
(5:44)  2. Moten Swing
(3:37)  3. 'Round Midnight
(3:36)  4. Rosetta
(6:07)  5. In A Mellow Tone
(3:59)  6. When It's Sleepy Time Down South
(3:44)  7. After You've Gone
(4:47)  8. Bye Bye Blackbird
(5:34)  9. On The Sunny Side Of The Street
(3:53) 10. It's All Right With Me
(5:23) 11. Basin Street Blues
(5:21) 12. Mack The Knife

As trumpeter Randy Sandke remembers in the liner notes, the music on this CD was recorded after a seven-hour drive in Germany with most of the musicians already suffering a bit from jet lag. The studio was hot and the repertoire was comprised of old warhorses. And yet, despite all of that, the music turned out to be quite magical. The all-star group (Sandke; trombonist Dan Barrett; Scott Robinson on tenor, bass sax, and cornet; pianist Mark Shane; guitarist/singer Marty Grosz; bassist Linc Milliman, and drummer Dave Ratajczak) managed to be quite inspired and the little arranged sections (probably by Barrett) were major assets. Highlights include "Broadway," "Rosetta," "After You've Gone," and "Mack the Knife." Recomended for small-group swing fans. ~ Scott Yanow   http://www.allmusic.com/album/broadway-mw0000050444

Personnel: Marty Grosz (vocals, guitar); Scott Robinson (tenor saxophone, baritone saxophone, cornet); Randy Sandke (trumpet); Dan Barrett (trombone); Mark Shane (piano); Dave Ratajczak (drums).

Broadway

---

The Jim Cullum Jazz Band - Fireworks! Red Hot & Blues

Styles: Early jazz, Dixieland
Year: 1996
File: MP3@320K/s
Time: 57:17
Size: 133,8 MB
Art: Front

(4:48)  1. South Rampart Street Parade
(3:20)  2. Dr. Jazz
(4:52)  3. Fireworks
(3:10)  4. Memphis Blues
(2:14)  5. Doin' The New Low Down
(3:08)  6. Grandpa's Spells
(2:57)  7. Ring Dem Bells
(4:40)  8. Honky Tonk Music
(3:21)  9. It Don't Mean A Thing
(4:01) 10. Seven Come Eleven
(2:17) 11. A Dollar For A Dime
(3:18) 12. My Heart
(2:57) 13. Mumbles
(4:08) 14. Burnin' The Iceberg
(7:59) 15. St. Louis Blues

Riverwalk, Live from the Landing has since its debut in 1988 been one of the finest of all jazz radio series. Featuring cornetist Jim Cullum's excellent septet with a variety of guests, each show is well-scripted, educational and entertaining, generally based around a specific theme. This particular set is an excellent sampler of the series. The Jim Cullum Jazz band (featuring trombonist Mike Pittsley, either Brian Oglivie or Allan Vache on clarinet and pianist John Sheridan) has three numbers to themselves (including a brilliant version of "Fireworks") and is joined by such notable guests as pianist Dick Hyman, bassist Bob Haggart, singer Vernel Bagneris (heard on "Dr. Jazz"), tap dancer Savion Glover (who follows an excerpt from a 1932 recording of Bill Bojangles Robinson on "Doin' the New Lowdown"), cornetist Leon Oakley, Linda Hopkins (who sings "St. Louis Blues") and the great Clark Terry (on "It Don't Mean a Thing" and "Mumbles"). 

In addition, Hyman and Sheridan engage in a heated piano duet on "Grandpa's Spells," Lionel Hampton jams "7 Come 11," clarinetist Ken Peplowski romps through "Ring Dem Bells" and Joe Williams signs a tender version of Eubie Blake's "A Dollar for a Dime" in a duet with pianist Sheridan. All 15 selections are quite enjoyable, the radio audience is rightfully enthusiastic and this CD has more than its share of highpoints. Highly recommended to classic jazz fans. ~ Scott Yanow   http://www.allmusic.com/album/fireworks!-red-hot-blues-mw0000088577

Personnel: Jim Cullum, Jr. (cornet); Clark Terry (vocals, violin, flugelhorn); Joe Williams , Linda Hopkins, Vernel Bagneris (vocals); Howard Elkins (guitar, banjo); Mike Walbridge (tamboura); Ken Peplowski, Allan Vaché (clarinet); Leon Oakley (cornet); Mike Pittsley (trombone); Dick Hyman, John Sheridan (piano); Lionel Hampton (vibraphone); Ed Torres (drums).

Fireworks! Red Hot & Blues

---

Karen Egert - That Thing Called Love

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 50:00
Size: 116,4 MB
Art: Front

(3:50)  1. All Or Nothing At All
(2:02)  2. What Is This Thing Called Love
(4:58)  3. I Keep Going Back To Joe's
(3:49)  4. Dindi
(4:18)  5. I Can't Make You Love Me
(2:48)  6. I Love Being Here With You
(6:12)  7. That Ole' Devil Called Love
(3:49)  8. So Nice (Summer Samba)
(3:18)  9. In The Wee Small Hours Of The Morning
(3:26) 10. All Of You
(2:52) 11. You Go To My Head
(2:07) 12. So Danco Samba
(3:36) 13. Could You Be Mine
(2:49) 14. I Remember You

With an all star band featuring John Pizzarelli , Bucky Pizzarelli and Harry Allen on sax Karen Egert's second CD , That Thing Called Love ,truly shows the depth that this singer is made of. Karen tells a story with her singing , and combined with the excitement of her voice, she creates a wonderful sound. She has her own personal and unique style, making her an up and coming voice on the jazz scene today.
Karen began her career first on Broadway, in cabaret shows and then segued into singing and playing the piano in the major NYC hotels.She currently is playing every weekend at the private New York Athletic Club on Central Park South in Manhattan, where she accompanies herself on piano. She also can be seen at Shanghai Jazz , Trumpets and other venues in the Metropolitan area. She had a steady singing gig at the Waldorf Astoria Hotel for over 5 years and had the distinction of playing nightly on Cole Porter's piano. It was at the Waldorf  Astoria that Stevie Wonder was walking through the lobby and was so struck by her voice that he came into the lounge and listened to her for the rest of the evening. As he was about to leave , she then played one of her favorite Stevie Wonder tunes" Overjoyed" and he was so taken by her that he joined her at the piano for a private performance of some of his greatest songs. It was ofcourse a night to remember . Karen is also an accomplished songwriter and her latest CD contains one of her best original songs- "Could You Be Mine" .This Cd currently can be heard on jazz stations around the country . You can visit Karen's website for more information on this exciting singer.   http://www.cdbaby.com/cd/egertkaren

That Thing Called Love

---

Amandah Jantzen - Devil May Care

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 52:16
Size: 120,2 MB
Art: Front

(4:09)  1. Cheek To Cheek
(6:04)  2. Early Autumn
(7:32)  3. Besame Mucho
(3:48)  4. Devil May Care
(8:44)  5. How Insensitive
(2:27)  6. It's All Right With Me
(3:43)  7. What'll I Do?
(4:12)  8. Summertime
(5:23)  9. I Was Telling Him About You
(3:08) 10. It's A Wonderful World
(3:02) 11. This Is Always

Before commenting on the music, a word of congratulations the eight photographs of Amandah Jantzen that adorn Devil May Care have equaled Maria Schneider’s record for “most pictures of a performing artist accompanying her own compact disc.” She needed both sides of the tray card to do it but managed to draw even with Schneider’s notable achievement on her latest album, Allégresse. In five of the eight photos Jantzen, a green eyed blonde, is posed on a beach in swimsuit or robe, which may or may not help sell a few copies of the album. It certainly can’t hurt, but may deflect one’s attention from Jantzen’s most important asset, which is of course her singing voice. It’s clear and pleasant, seductive when appropriate, with a slight sharpness around the edges that enhances her intonation, delivery and “devil may care” presence. Jantzen’s choice of material is exemplary, and she knows how to sell a lyric without undue embellishment. Whether she’s a “Jazz singer” is debatable (it almost always is) but she has surrounded herself with talented Oregon based pros who keep the music swinging. Al Wold is especially helpful, moving easily from clarinet to tenor or baritone sax, while drummer Craig Scott (wonderful with sticks or brushes) switches to vibes on Jobim’s “How Insensitive.” The closing number, Mack Gordon / Harry Warren’s “This Is Always,” is a sultry duet with pianist Chris Sigerson who teams with Scott, bassist Ken Lister and guitarist Ihor Kukurudza to comprise an impressive rhythm section. When all is said and sung, Jantzen is a pleasure to hear (and to see). ~ Jack Bowers   http://www.allaboutjazz.com/php/article.php?id=9017#.U08TwFdSvro

Personnel: Amandah Jantzen, vocals; Al Wold, tenor, baritone sax, clarinet; Chris Sigerson, piano; Ihor Kukurudza, guitar; Ken Lister, bass; Craig Scott, drums, vibes.

Devil May Care

---

Lou Levy - Plays Baby Grand Jazz

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 30:50
Size: 70,6 MB
Art: Front

(2:15)  1. Little Girl
(2:39)  2. I'll Never Smile Again
(2:47)  3. Undecided
(2:49)  4. Lover Man
(2:30)  5. The Gypsy
(2:33)  6. A Sunday Kind Of Love
(2:00)  7. I've Found A New Baby
(2:12)  8. Sleepy Serenade
(2:37)  9. The End Of A Love Affair
(2:38) 10. Under Paris Skies
(2:47) 11. Comme Ci, Comme Ca
(2:57) 12. You Don't Know What Love Is

A superior bop-based pianist who has worked with a countless number of top jazz artists, Lou Levy started on piano when he was 12. He played with Georgie Auld (1947), Sarah Vaughan, Chubby Jackson (1947-1948), Boyd Raeburn, Woody Herman's Second Herd (1949-1950), Tommy Dorsey (1950), Auld again, and Flip Phillips. Levy was outside of music for a few years (1952-1954) and then gained a strong reputation as a fine accompanist to singers, working with Peggy Lee (on and off during 1955-1973), Ella Fitzgerald (1957-1962), June Christy, Anita O'Day, and Pinky Winters. Levy also played with Shorty Rogers, Stan Getz, Terry Gibbs, Benny Goodman, Supersax, and most of the major West Coast players. Lou Levy has recorded as a leader for Nocturne (1954), RCA, Jubilee, Philips, Interplay (1977), and Verve. He passed away in late January 2001. Bio ~ Scott Yanow   http://www.allmusic.com/artist/lou-levy-mn0000213320/biography

Plays Baby Grand Jazz

---

Art Blakey & The Jazz Messengers - At Cafe Bohemia Vol.1 And Vol.2

Styles: Hard Bop
Year: 1955
File: MP3@320K/s
Time: 64:52
Size: 148,8 MB
Art: Front

Vol. 1

( 1:32)  1. Announcement By Art Blakey
(12:34)  2. Soft Winds
( 6:11)  3. The Theme
( 9:11)  4. Minor's Holiday
( 4:15)  5. Alone Together
( 8:51)  6. Prince Albert
( 7:30)  7. Lady Bird
( 4:31)  8. What's New
(10:14)  9. Deciphering The Message

This is Art Blakey's early period Jazz Messengers featuring trumpeter Kenny Dorham, saxophonist Hank Mobley, bassist Doug Watkins, and pianist Horace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters who signified its sound, and expanded on the language of modern jazz. There are three bonus CD tracks not on the original LP that further emphasize not only the inherent power of Blakey's band and drumming, but demarcate the simplicity of melodic statements that were a springboard for the fantastic soloing by these individuals who would follow those tuneful lines. Dorham is responsible for this edict, as he contributes three of the selections, including the staccato-accented melody of "Minor's Holiday" primed by a thumping intro via Blakey, "Prince Albert" with its by now classic and clever reharmonization of "All the Things You Are," and the perennial closer of every set "The Theme," with its brief repeat melody and powerhouse triple-time bop break. Mobley wrote the scattered melody of "Deciphering the Message," heard here at length for the first time, although it was later available in its original shortened studio form on the reissued Columbia CD Art Blakey & the Jazz Messengers. The tenor man gets his feature on the quarter-speed slowed ballad version of "Alone Together," which altogether sounds pining and blue to the nth degree. Standards like Fletcher Henderson's "Soft Winds" seemed merely a simple and lengthy warmup tune, but Tadd Dameron's "Lady Bird" is an absolute workout, with variations abounding on the intro, first and second run-throughs of the melody, and some harmonic twists. Watkins is featured on the lead line of "What's New?," which again combines melancholy with that slightest spark of hope. If this is indeed in chronological order as a first set from the November 13, 1955 performances, it wets the whistle and leaves the listener wanting more, knowing the best is yet to come. ~ Michael N.Nastos  http://www.allmusic.com/album/at-the-cafe-bohemia-vol-1-mw0000590277

At Cafe Bohemia Vol.1

---

Vol. 2

Styles: Hard Bop
Year: 1955
File: MP3@320K/s
Time: 65:17
Size: 149,9 MB
Art: Front

( 0:37)  1. Announcement by Art Blakey
( 6:53)  2. Sportin' Crowd
( 9:15)  3. Like Someone in Love
( 4:18)  4. Yesterdays
(12:46)  5. Avila & Tequila
( 9:47)  6. I Waited For You
( 9:27)  7. Just One for Those Things
( 4:43)  8. Hank's Symphony
( 7:27)  9. Gone With The Wind

Volume deux of the 1955 Cafe Bohemia sessions from Art Blakey's second edition Jazz Messengers is better than the first. The music is more energetic, cohesive, and pushes the hard bop farther. Where the first volume featured compositions of newly recruited trumpeter Kenny Dorham, it is tenor saxophonist Hank Mobley asserting himself on the bandstand with his set pieces that formed the foundation of the first studio edition of the quintet that included Donald Byrd. Here, Mobley does not defer to Dorham, pushing his sound forward without compromising his vision. "Sportin' Crowd" is definitely an ear opener, a straight-ahead, hard bop gem based on the changes of the Sonny Rollins' classic "Tenor Madness." A live version of "Hank's Symphony" recapitulated from the studio version on the original Jazz Messengers' LP for the Columbia label  has an Asian and calypso flair with many accented notes and a secondary melody. The killer track is Mobley's "Avila & Tequila," drenched in Blakey's churning Afro-Cuban beats, filled with multiple modal devices especially from Horace Silver, and charges ahead as if there was no tomorrow a truly memorable and vital performance. The other tracks may seem to pale by comparison, but the easy, bluesy "Like Someone in Love," a short ballad version of "Yesterdays" finally featuring trumpeter Dorham, and Mobley's luscious tenor during the ultimate tearjerker "I Waited for You" offer stark contrast while losing no internal intensity. It is on "Just One of Those Things" where the band really straightens up and convenes in tandem, a solid cohesion where Dorham and Mobley work like an effortless, major league shortstop and second base double-play combination. "Gone with the Wind" finishes this set in soulful, legato, dispassionate refrains. This is a more consistent effort than the first volume, with a much anticipated, late-night set still on the horizon. ~ Michael N. Nastos   http://www.allmusic.com/album/at-the-cafe-bohemia-vol-2-mw0000011366

At Cafe Bohemia Vol.2

---

Marica Hiraga With Manhattan Jazz Quintet - Close to Bacharach

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 56:04
Size: 129,0 MB
Art: Front

(3:51)  1. Raindrops Keep Fallin' On My Head
(4:55)  2. Do You Know The Way To San Jose
(4:56)  3. Alfie
(3:58)  4. The Look Of Love
(3:12)  5. What The World Needs Now Is Love
(4:05)  6. Close To You
(4:38)  7. Wives And Lovers
(4:38)  8. A House Is Not A Home Flash
(4:23)  9. Arthur's Theme (The Best You Can Do)
(4:07) 10. God Give Me Strength
(4:28) 11. I'll Never Fall in Love Again
(4:17) 12. This Guy's In Love With You
(4:30) 13. That's What Friends Are For

Marica Hiraga is Japan’s leading jazz vocalist with a rich talent both in expression and technique. Her professional career began in 1981 after she was awarded the Asia Music Award in Hong Kong. She has acquired her understanding and feeling of jazz by performing and traveling between Tokyo and New York. Her first Jazz standard album, My Shining Hour, was released in 2001, and won the Best Singing Techniques award at the 19th Japan Jazz Vocal Award hosted by Jazz World magazine in 2003. Her 2nd album, Faith, released in 2006, was recorded with Eric Alexander and Harold Mabern Trio. Faith was selected as “ Swing Journal Gold Disc” and became her breakthrough album. She then worked with the legendary jazz combo, the Manhattan Jazz Quintet, lead by David Matthews, on 3rd album, Close to Bacharach, which was highly praised as the new Bacharach standards. 

The album was again selected as “ Swing Journal Gold Disc” and she received the Best Vocal award at the 41st Jazz Disc Award, hosted by Swing Journal, one of the most prestigious awards for jazz music in Japan. In May 2008, she released a collection of mature love songs as 4th album, More Romance, and in November, she released 5th album, BATUCADA-Jazz‘ n’ Bossa, on which she worked with many prominent musicians including the genius Gil Goldstein, the leading AOR musician Michael Franks, Marcos Valle, Phil Woods, Kenny Garrett and Randy Brecker, as a celebration album for bossa nova’s 50th anniversary. BATUCADA was again selected as“ Swing Journal Gold Disc” and won her the Best Vocal award at the 42nd Jazz Disc Award. ~ Bio   http://www.last.fm/music/Marica+Hiraga

Close to Bacharach

---

Geri Allen - Flying Toward the Sound

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 60:09
Size: 137,9 MB
Art: Front + Back

( 6:03)  1. Flying Toward the Sound
( 5:56)  2. Red Velvet in Winter
( 4:24)  3. Dancing Mystic Poets at Midnight
(16:06)  4. God's Ancient Sky
( 3:23)  5. Dancing Mystic Poets at Twilight
( 7:00)  6. Faith Carriers of Life
( 5:44)  7. Dancing Mystic Poets at Dawn
( 6:23)  8. Flying Toward the Sound (Reprise)
( 5:05)  9. Your Pure Self (Mother to Son)

One of modern jazz's foremost pianists, Geri Allen exhibits a musical profundity that is coupled by lyricism and soul. Whether leading a trio of esteemed peers Charlie Haden and Paul Motian at that landmark venue, Live at the Village Vanguard (DIW, 2000), or giving homage to the obscure jazz matriarch, pianist Mary Lou Williams, with Zodiac Suite: Revisited (Mary Music, 2006), Allen is a composer/musician constantly gravitating towards new endeavors.  Such is the case with Flying Toward the Sound (a solo piano suite in eight refractions ), a work that gained momentum after Allen received a 2008 John Simon Guggenheim Fellowship for Music Composition. Inspired by three great pianists Herbie Hancock, Cecil Taylor and McCoy Tyner the project offers reverence to the spirit of their music, yet eschews mimicry. It sets its own course in a journey that is enigmatic yet personal, complex yet moving, and always evolving with Allen's own vision as she so eloquently states: "It's not like playing transcriptions; it's more about refracting the admiration and love I have for them through my own muse." 

The suite is replete with Allen's cerebral compositional and improvisational vigor. Each refraction is prismatic moments of balladry, grandeur, and abstractionism are contained in the stunning opening title, dedicated to Tyner. Rapid notes forge cascading movements, sheets of sound, and fluid runs in "Red Velvet In Winter (for Hancock)" and flamboyant blues/swing improvisation in "Dancing Mystic Poets in Twylight (for Taylor)."  Motion and spirituality are prevalent in "God's Ancient Sky," the sixteen-minute centerpiece where the pianist's keys travel over assorted soundscapes. Personal reflections are found in "Faith Carriers of Life," dedicated to mothers, and "Your Pure Self (Mother To Son)," for her son Wally each intimating the pianist's inventiveness and sensitivity suffused in her swinging groove essence. An added gift is found on the enhanced CD, with three short video excerpts from the film Refractions , by filmmaker Carrie Mae Weems, who collaborated on the project. Jazz has been quoted as being "music that walks a tightrope without a net." Allen's Flying Toward the Sound effectively fits that description daring, vulnerable, and breathtaking. ~ Mark F.Turner   http://www.allaboutjazz.com/php/article.php?id=36330#.U07iGFdSvro
 

Personnel: Geri Allen: piano.

Flying Toward the Sound

---

Jonah Jones - Jonah Jones At The Embers

Bitrate: 320K/s
Time: 45:18
Size: 103.8 MB
Styles: Dixieland
Year: 1956/2010
Art: Front

[4:27] 1. It's All Right With Me
[4:04] 2. From This Moment On
[3:33] 3. Learnin' The Blues
[2:34] 4. Something's Gotta Give
[3:56] 5. All Of You
[4:11] 6. Lullaby Of Birdland
[4:04] 7. Basin Street Blues
[4:25] 8. High Society
[5:48] 9. Tin Roof Blues
[3:45] 10. Muskrat Ramble
[4:26] 11. At Sundown

In 1956, Jonah Jones started to become an unlikely commercial success. A veteran swing trumpeter not known to the general public despite being an exciting player, Jones caught on playing frequently muted solos with a quartet at the Embers in New York. His music often featured a shuffle rhythm and mixed Dixieland, swing and show tunes. This first recording by the quartet (also including pianist George Rhodes, bassist John Browne and drummer Harold Austin) was popular, although it would soon be dwarfed by Jones' successes for Capitol. Highlights of the date, which was also released by Groove and Victor, include "It's All Right With Me," "All of You," "High Society" and "At Sundown." ~Scott Yanow

Jonah Jones At The Embers

---

Melanie Rice - This Love Of Mine

Bitrate: 320K/s
Time: 81:48
Size: 187.3 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[6:08] 1. This Love Of Mine
[5:26] 2. Here's To Life
[5:05] 3. Autumn Leaves
[4:28] 4. I Wanna Be Around
[5:51] 5. Always On My Mind
[6:08] 6. So Many Stars
[4:13] 7. I Thought About You
[5:45] 8. Both Sides Now
[5:57] 9. This Is All I Ask
[4:28] 10. The Touch Of Your Lips
[4:51] 11. Come Rain Or Come Shine
[5:15] 12. Just In Time
[7:42] 13. You Must Believe In Spring
[3:54] 14. What Matters Most
[6:30] 15. When October Goes/An Affair To Remember

Melanie Rice grew up in Hammonton, NJ. A small town girl with big dreams, Melanie began her musical journey at a young age joining the school band where she became proficient on saxophone and trombone. At fourteen, her musical aspirations evolved into singing with local bands. With an instrumental background, an innate talent for improvisational scatting and an admiration for such legends as Ella Fitzgerald and Barbara Streisand, she grew into the shoes of a contemporary/jazz vocalist with grace and ease. In addition to performing live, she continued her studies, earning a B.A. in music from Rowan College and the University of Delaware.

Poised for success, Melanie soon after conquered the lounges of several Atlantic City casinos including Harrah’s, Tropicana, Caesars, Trump Plaza and Trump Marina. Traveling west, she lit up the stages of Las Vegas’ Golden Nugget, and Bally’s. Over the years she continued to polish her act, garnering accolades and respect from her peers, her fans and the local media.

In 1995, Melanie expanded her musical horizons once more, opening her own entertainment agency, Melanie Rice Entertainment, Inc. Utilizing musical experience, business savvy and unsurpassed customer service, she provides casino, corporate and social clients with entertainment ranging from string ensembles to high energy dance bands to fully staged production shows & headline entertainers. In addition, she is the conductor and lead singer of “MRO” (The Melanie Rice Orchestra), one of the tri-states most popular dance bands. She also performs as a cabaret artist as well as with a traditional jazz ensemble

This Love Of Mine

---

Bob Berg, Randy Brecker, Dennis Chambers, Joey Defrancesco - The Jazz Times Superband

Bitrate: 320K/s
Time: 65:28
Size: 149.9 MB
Styles: Saxophone jazz, Bop
Year: 2000
Art: Front

[6:16] 1. Dirty Dogs
[8:25] 2. Silverado
[6:07] 3. Jones Street
[5:36] 4. Oleo
[4:46] 5. Friday Night At The Cadillac Club
[7:14] 6. Soho Sole
[6:15] 7. The Ada Strut
[6:24] 8. Blue Goo
[6:07] 9. Seven A.M. Special
[8:12] 10. Freedom Jazz Dance

Marking its 30th anniversary, JazzTimes magazine convened an all-star band to play an energetic and entertaining set of soul jazz. Bob Berg, Randy Brecker, Dennis Chambers, Joey DeFrancesco, and guest guitarist Paul Bollenback aptly form this superband, each bringing his unique talents to the musical table. Berg is at his intense, wailing best on the self-composed "Silverado" and groovy, party maker "Friday Night at the Cadillac Club." Brecker is bright and playful on his own "Dirty Dogs" and "Jones Street." Chambers and DeFrancesco provide their customary and exemplary support, whirling, swinging, and effectively carrying tunes like the Latin-tinged "The Ada Strut" and the blistering cover of Sonny Rollins' "Oleo." Although this album does not represent the deep musical communication and emotional story telling that characterizes the best, most cohesive working bands, it is a clean, enjoyable jam session conceived by great jazzmen. The most interesting track is the finale, a cover of Eddie Harris' "Freedom Jazz Dance." The superband clearly respects the "free" portion of this dance, indicating a direction in which they might successfully explore as they clock more musical miles together as a functioning unit. ~Brian Bartolini

The Jazz Times Superband

---

Rosana Eckert & Terry Hankins - Two For The Road

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 39:07
Size: 89,6 MB
Art: Front

(5:07)  1. On A Clear Day
(3:36)  2. My Favorite Things
(2:39)  3. I Wanna Be Like You
(4:46)  4. Love For Sale
(4:56)  5. Both Sides Now
(2:45)  6. Don't Fence Me In
(3:50)  7. It's All Right With Me
(4:13)  8. Once I Loved
(3:11)  9. Don't Ask Me Why
(4:00) 10. Two For The Road

With her smooth voice and eclectic style, Rosana Eckert's music has received critical acclaim and captivated listeners worldwide. A dynamic jazz singer, composer, and arranger, Rosana has performed and/or recorded with such jazz greats as pianist George Duke, bassist Christian McBride, trumpeter Kenny Wheeler, and the Grammy-winning vocal quartet New York Voices. Released in 2007, this fun and friendly collection of songs with guitarist Terry Hankins is her third recording project. Also available: Rosana's first recording effort, Rosana Eckert, also features her in a duo setting with the wonderful piano work of long-time musical partner Brian Piper. Her second project, At the End of the Day, was released in 2001 and serves as the debut for Rosana with her full band. That recording was praised as "a superior debut" (Cadence Magazine) and "an occasion for celebration" (All About Jazz) and was a finalist for Best Jazz Album in the 2006 Independent Music Awards. Rosana is on the faculty of the world renowned University of North Texas jazz department, and she is in high demand as a festival performer, clinician, and adjudicator. Her original songs and arrangements have been performed by singers worldwide and are published by Hal Leonard Corp. and MichMusic. Rosana also works regularly as a studio singer in Dallas. She has sung back-up vocals for various recording artists including contemporary Christian singers Matthew Ward and Annie Herring, and she can be heard on hundreds of jingles and radio IDs around the world. rosanaeckert   http://www.cdbaby.com/cd/rosana2

Two For The Road

---

Cindy Blackman - In The Now

Styles: Hard Bop, Jazz
Year: 1998
File: MP3@320K/s
Time: 63:56
Size: 146,5 MB
Art: Front

( 6:48)  1. In The Now
( 3:25)  2. A Banana For Ron
( 6:44)  3. Passage
(15:05)  4. A King Among Men
( 7:28)  5. Sophia
( 7:17)  6. Prince Of Darkness
( 4:37)  7. Happy House
( 4:33)  8. A Strawberry For Cindy, A
( 7:56)  9. Let Love Rule

Sometimes it takes the loss of a parent to bring about a heightened sense of maturity and clarity of purpose in oneself. In many ways, Tony Williams was Cindy Blackman's spiritual father, certainly her biggest role model. His passing has inspired the drummer-composer to go deep within and reflect on Tony's contribution as well as her own gifts. The result of that introspection is her most profound and heartfelt statement to date. Tony's influence looms large on her sixth album as a leader. There was a time, back in the early '80s, when Blackman played like she had something to prove. She's gotten well beyond that now. While her playing is still aggressive, her touch is more brisk and her ideas more organically integrated into the fabric of the compositions. Like Tony, she is a thinking, reacting drummer who propels the music forward while shaping and coloring it from measure to measure with well-placed tom and snare accents and cymbal splashes. 

In the Now features her most mature, interactive playing on record while also highlighting her evolving sophistication as a composer. Jacky Terrasson's use of Fender Rhodes on Blackman originals like "Passage" and the title track, as well as on a savvy cover of pop star Lenny Kravitz's "Let Love Rule," immediately triggers a Miles in the Sky/Filles de Kilimanjaro vibe. Ron Carter's pedalling and walking basslines complete the connection to that time and place. Ravi Coltrane responds to this surging, expansive attitude with some probing and highly personal work on tenor (and soprano on "Passage"), with a few nods to Joe Lovano along the way. The centerpiece of this excellent album is "A King Among Men," Cindy's heartfelt tribute to her hero, Williams. The 15-minute suite moves through a variety of moods marked by her conversational approach to the kit. Coltrane's tenor playing is particularly lyrical here as well as on swinging renditions of Wayne Shorter's "Prince of Darkness" and Ornette Coleman's "Happy House." The brooding ballad "Sophia" is a fine example of Blackman's alluring brushwork, underscored by Carter's sparse, zenlike presence on bass, while she holds nothing back on the dynamic go-for-it traps showcase "A Strawberry for Cindy."  After years of trying to find her own place in the music, Cindy Blackman arrives in high style with In the Now. ~ Bill Milkowski   http://jazztimes.com/articles/8709-in-the-now-cindy-blackman

Personnel: Cindy Blackman (drums); Ravi Coltrane (soprano & tenor saxophones); Jacky Terrasson (piano), Fender Rhodes (piano); Ron Carter (bass).

In The Now

---

Buddy DeFranco & Tommy Gumina - The Girl From Ipanema

Styles: Clarinet And Accordion Jazz
Year: 1964
File: MP3@320K/s
Time: 37:56
Size: 87,9 MB
Art: Front

(2:35)  1. The Girl From Ipanema
(3:57)  2. Spring Is Here
(5:32)  3. Never On Friday
(3:01)  4. Satin Doll
(5:07)  5. My Old Flame
(3:47)  6. Round About Midnight
(3:36)  7. I Love You(De Volyo Bene)
(3:28)  8. It Could Happen To You
(6:49)  9. Lunar Lunacy

During 1960-64 clarinetist Buddy DeFranco co-led a quartet/quintet with accordionist Tommy Gumina. They recorded five albums that have been long out-of-print, including this session for Mercury which was their last before the group broke up. Actually DeFranco plays a fairly minor role on the date. In the ensembles he blends in with the accordion so closely as to be almost inaudible. Gumina takes the lion's share of the solo space on the standards and ballads and is well showcased on the rapid and somewhat bizarre "Lunar Lunacy." Other highlights include the title tune, "Satin Doll" and "It Could Happen to You." This LP will be difficult to find but it is better than it looks. ~ Scott Yanow  http://www.allmusic.com/album/the-girl-from-ipanema-mw0000866090

Personnel:  Accordion – Tommy Gumina ; Bass – Lee Burrows ; Clarinet – Buddy De Franco; Drums – Dickie Borden ; Guitar – Don Mamblo

The Girl From Ipanema

---