Marilyn Scott - Every Time We Say Goodbye

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 47:13
Size: 112,0 MB
Art: Front + Back

(5:56)  1. Every Time We Say Goodbye
(4:05)  2. I Got Lost In His Arms
(5:35)  3. Lonely Town
(4:29)  4. Detour Ahead
(4:27)  5. Do You Know The Way To San Jose?
(5:10)  6. Autumn In New York
(4:26)  7. I Love Paris
(5:04)  8. Cry Me A River
(3:20)  9. Caravan
(4:36) 10. Somewhere

Marilyn Scott has straddled several music styles over her career though she is better known as a pop or smooth jazz singer. Unfortunately, that background rarely serves a musician well who attempts a straight-ahead CD with seasoned mainstream players interpreting standards. Scott's alto voice is at best average and a bit nasal, while the use of frequent reverb is evidently to cover up for her shortcomings. Her grating inflections in each song reveal her primary music interests. Particularly annoying are Scott's draggy setting of Cole Porter's "Ev'ry Time We Say Goodbye" (which is misspelled on the cover) and the lightweight "Do You Know the Way to San Jose?" (a Burt Bacharach tune that was a hit for Dionne Warwick), which is recast in a bland bossa nova arrangement with a rather uninspired vocal. It is a shame that veterans like pianist Cyrus Chestnut, guitarist Paul Bollenback, and tenor saxophonist/clarinetist Ken Peplowski aren't featured more in these rather brief arrangements, aside from a sizzling "Caravan." The producers would have been better off writing a check to Scott and sending her packing after a few takes, while retaining the instrumentalists for their own record date. ~ Ken Dryden   

http://www.allmusic.com/album/every-time-we-say-goodbye-mw0001198488

Personnel: Bass – Gerald Cannon ; Drums – Willie Jones III ; Guitar – Paul Bollenback ; Piano – Cyrus Chestnut; Saxophone [Tenor]; Clarinet – Ken Peplowski ; Vocals – Marilyn Scott

Every Time We Say Goodbye

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Scott Hamilton - Jazz Signatures

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 57:44
Size: 132,5 MB
Art: Front + Back

(5:05)  1. Raincheck
(7:04)  2. In Your Own Sweet Way
(7:36)  3. Jitterbug Waltz
(5:31)  4. If You Could See Me Now
(4:01)  5. Move
(5:43)  6. Byas a Drink
(6:05)  7. You Left Me All Alone
(5:46)  8. When Lights Are Low
(4:50)  9. Angel Face
(5:58) 10. John's Bunch

Continuing in his quarter-century tenure with Concord Records, Scott Hamilton is still finding fresh concepts for presenting his pre-bop tenor sax sound that went against the grain of the fusion groups when he first started recording. Taking his cue from masters like Ben Webster or Don Byas, rather than Wayne Shorter, Hamilton continued their pioneering tradition of the tenor sax as a voice-like instrument with universal emotional appeal. Hamilton pays tribute to those originators, who merged melodic urgency with emotional content, as well as to others who had the same effect in extending the vocabulary of jazz within boundaries accepted by the general public. His concept on Jazz Signatures is a simple one: recognizing through his own style the jazz artists who left their own mark on the genre, unobtrusively and yet indelibly. His choices are sometimes telling. Don Byas in particular is an insightful choice, Byas’ work inspiring other tenor players, even as he faded from public recognition after his move to Europe. Playing “Byas A Drink” with a light Latin-tinged approach, Hamilton stresses the richness of tone combined with the appeal of the improvisational lines. In addition, Hamilton goes against convention by recognizing Illinois Jacquet with a slower, evocative "You Left Me All Alone,” instead of the “signature” number, “Flying Home.” Pianists are included in Hamilton’s signatures as well, particularly Fats Waller, whose “Jitterbug Waltz” breezes along more aggressively and perhaps less unctuously than one would expect from the saxophonist.

 Dave Brubeck’s “In Your Own Sweet Way” proceeds with a light swing, Hamilton’s long tones stretching the phrasing from one chorus into the next as he lightly bends notes and adds swelling dynamics to a single note, similar to Stan Getz’s approach. And Billy Strayhorn is counted among the pianists. Hamilton animates “Raincheck” with an effortless and mature interpretation that has no need at all for gimmickry. Hank Jones’ “Angel Face” is more delicate, Hamilton’s full sound stressing the logic of its harmonic development, the meandering theme eventually weaving into a satisfying conclusion. But then the last track honors a pianist important to Hamilton’s career, John Bunch, who accompanies him throughout the album. The person who introduced Hamilton to Benny Goodman in the 1970’s, and who thus helped launch Hamilton’s career, Bunch has stayed in touch with the saxophonist through the years. Their relationship continues, as shown on Jazz Signatures, which they recorded last year in Wimbleton, England after a gig at London’s Pizza Express (where, by the way, Mose Allsoin recorded The Mose Chronicles, Vol. One. “John’s Bunch,” however, ends the project on a high note, its shuffle rhythm propelling the quartet into its controlled frenzy and then dramatically closing the CD with rolling chords, trills, growls and a blue note. ~ AAJ STAFF   http://www.allaboutjazz.com/php/article.php?id=7756#.U1LSXldSvro

Personnel: Scott Hamilton, tenor sax; John Bunch, piano; Dave Green, bass; Steve Brown, drums

Jazz Signatures

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Bruce Barth - Daybreak

Styles: Piano Jazz
Year: 2014
File: MP3@256K/s
Time: 61:46
Size: 113,7 MB
Art: Front

(6:32)  1. Triste
(6:21)  2. Tuesday's blues
(8:28)  3. Vamanos
(5:04)  4. Moon shadows
(4:47)  5. Daybreak
(6:51)  6. Brasilia
(6:36)  7. Then three
(6:24)  8. Somehow it's true
(5:25)  9. In the still of the night
(5:13) 10. So tender

Pianist Bruce Barth starts throwing curves right out of the gate on Daybreak, transforming Antonio Carlos Jobim’s “Triste,” rhythmically and harmonically, into a buoyantly percussive, odd-meter delight. It’s one of several performances that immediately invite repeat listens, the better to appreciate the pianist’s wit and invention or to enjoy the inspired company he’s keeping this time around: trumpeter/flugelhornist Terell Stafford, vibraphonist Steve Nelson, bassist Vicente Archer and drummer Montez Coleman. While the lineup shifts from time to time, the distinctive instrumentation pays off consistently. Stafford is in terrific shape-shifting form now a hard-bop virtuoso, now a lyrical balladeer, now a master of soulfully expressive slurs that reveal deep roots and stylistic affinities. Likewise, Nelson proves adept as colorist, collaborator and foil, so much so that one wishes the two were teamed more often in this seemingly intuitive setting. 

Then again, not the least of the album’s charms is Barth and Nelson performing as a duo on the luminous ballad “Somehow It’s True,” one of seven tunes here composed by the pianist. Not long afterward, Barth and Stafford sound similarly well matched and autonomous on Keith Jarrett’s “So Tender.” Archer and Coleman play significant roles when the ensemble performances demand atmospheric touches, as they often do, but they’re also responsible for vibrantly propelling Barth’s “Tuesday’s Blues” and other highlights. Barth has now recorded 13 albums as a leader, and like many of its predecessors, Daybreak can’t help but enhance his reputation as player, composer, arranger and bandleader. ~ Mike Joyce   

http://jazztimes.com/articles/126686-daybreak-bruce-barth

Personnel: Bruce Barth (piano); Terell Stafford (trumpet, flugelhorn); Steve Nelson (vibraphone); Montez Coleman (drums).

Daybreak

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Micheller Myrtill - Save The Last Dance For Me

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 52:32
Size: 121,1 MB
Art: Front

(4:06)  1. Save The Last Dance For Me
(3:15)  2. With A Little Help From My Friends
(3:54)  3. I Love Paris
(2:37)  4. Mr. Paganini
(4:33)  5. Historia De Un Amor
(3:43)  6. Part-time Lover
(6:02)  7. Parole, Parole
(3:53)  8. Fever
(4:40)  9. If There's Any Justice
(5:27) 10. Careless Whispers
(3:30) 11. Hushabye Mountain
(2:54) 12. Sway
(3:51) 13. Brrlak

Myrtill Micheller has been a well-known artist in the Hungarian music industry for more than ten years and is now a household name. After graduating as a jazz vocalist major from the Franz Liszt Music Academy, she started her music career as a jazz singer and vocal coach. She has performed with many Hungarian bands and solo artists such as Tamas Hevesi, Erika Zoltan, Roy and Adam, United, Animal Cannibals, Zsuzsa Cserhati, TNT, Naksi & Brunner and Istvan Lerch. Myrtill also performed a singing-acting role in the musical production Dr. Bubo and lent her vocal skills to the move classic “Meseauto” (Dreamcar) with the band Escape. She is often a singer guest of the famous Hungarian group Benko Dixieland Band. In 2006 Myrtill took part in two remarkable international singing contests. Myrtill and her guitarist partner Tibor Pinter were awarded the top eigth spot among 55 competitors in an international singing-guitar duet contest in Germany. 

Using the same unique arrangement from the competition, they recorded and released the album “Same As You” (2006). The album was very popular and was nominated for a Fonogram for Best Jazz Album of 2007 by MAHASZ. In 2006 Myrtill performed in another competition at the Lady Summertime jazz contest in Finland and reached third place. Myrtill is also a well-known performer at many Hungarian music pubs, festivals and company events.In June 2007 she was listed as one of the 50 best young Hungarian artists by one of the most remarkable newspapers of the country, the Magyar Hirlap. Myrtill, who is also known as the star singer of the popular Hungarian television show called Szombat Esti Laz (Saturday Night Fever)and is a vocal coach of the famous national singing contest Megastar. Currently, she is also releasing her third solo album called “Save the last dance for me.” In addition to the usual instruments, the arrangement also includes a special whole rhythm section and a string-quartet. We also find the beautiful, well-known jazz evergreens with different, unique arrangements.   

http://musicians.allaboutjazz.com/musician.php?id=2720#.U1bWWlchElU

Personnel:  Myrtill Micheller – voice; Richard Revesz – piano; Tibor Pinter – guitar; Sandor Sarkany – bass; Peter Kaszas – drums; Gabor Szendi – percussion; Balazs Bujtor – violin; Erika Kovacs - violin; Tunde Varasdy – viola; Bela Gal – cello; Krisztian Kurucz – cello; Andras Jasz - alt sax; Csaba Deseo - violin

Save The Last Dance For Me

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Madeline Eastman & Tom Garvin - Bare - A Collection of Ballads

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 57:17
Size: 131,5 MB
Art: Front

(3:57)  1. Not Like This
(8:12)  2. O Cantador
(5:07)  3. Listen Here
(5:03)  4. Never Let Me Go
(9:15)  5. My Ship/ Soul Eyes
(5:00)  6. I'm Gonna Laugh You
(4:13)  7. Bilhete
(5:42)  8. You Better Go Now
(5:16)  9. Lucky To Be Me
(5:28) 10. Funeral Blues/ Turn Out The Stars

This set of sensitive ballads features singer Madeline Eastman, who is accompanied by just pianist Tom Garvin. It immediately reminds one of Irene Kral's collaborations with Alan Broadbent in the 1970s and sometimes comes close to being as coolly emotional. Eastman is probably best-known for her wit, scatting ability, and swinging style, so this project is a departure for her. All of the songs are taken pretty slow and the emphasis is on her interpretations of the lyrics. Overall, Eastman succeeds in setting a dark and desolate but often hopeful mood, recording a date worth several listens, particularly when one is in an introspective mood. ~ Scott Yanow   http://www.allmusic.com/album/bare-a-collection-of-ballads-mw0000011402.

Personnel: Madeline Eastman (vocals); Tom Garvin (piano).

Bare, A Collection of Ballads

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Eddie Higgins - By Request

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 56:39
Size: 130,4 MB
Art: Front

(3:46)  1. St. Louis Blues
(3:58)  2. Georgia on My Mind
(4:28)  3. Old Folks
(3:11)  4. Sweet Georgia Brown
(4:18)  5. A Hundred Years from Today
(1:55)  6. Eustis Rag
(3:05)  7. Carinhoso
(4:11)  8. Body and Soul
(4:11)  9. We'll Be Together Again
(4:18) 10. Back Home Again In Indiana
(4:02) 11. What's New
(2:28) 12. Magnolia Rag
(3:50) 13. As Time Goes By
(3:52) 14. Sleigh Ride
(2:34) 15. Squeeze Me
(2:24) 16. Little Rock Getaway

Originally a Statiras LP recorded in 1986, when this date was reissued as a CD in 1992, Eddie Higgins went back into the studio and recorded five solos (including his "Magnolia Rag") to increase the release's length. The bulk of the set is the earlier trio date with bassist Milt Hinton and drummer Bobby Rosengarden, which primarily sticks to warhorses that are often requested of Higgins and most other jazz pianists. Highlights include "St. Louis Blues," "A Hundred Years from Today," "Little Rock Getaway," "Indiana," and "Sweet Georgia Brown." A strong all-around set from the underrated mainstream pianist. ~ Scott Yanow   http://www.allmusic.com/album/by-request-mw0000724266

Personnel: Eddie Higgins (piano); Bobby Rosengarden (drums).

By Request

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Harry Allen & The Bill Charlap Trio - Plays Ellington Songs

Styles: Saxophone And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 65:37
Size: 150,6 MB
Art: Front

(7:10)  1. C-Jam Blues
(7:05)  2. Solitude
(5:02)  3. Moon Indigo
(1:37)  4. It Don't Mean a Thing
(6:40)  5. Lush Life
(7:42)  6. Just Squeeze Me
(9:05)  7. Things Ain't What They Used to Be
(4:18)  8. Caravan
(4:09)  9. Take the 'A' Train
(7:51) 10. Cotton Tail
(4:54) 11. Sophisticated Lady

Duke Ellington fans are an odd lot, and it took last years celebration of the centennial of his birth to bring out the crankiest of Ellington cranks. What follows is not my review of tenor saxophonist Harry Allen's tribute to Ellington, but real and mostly imagined reactions. You see, as a jazz fan, I haven't immersed myself into the minutia of Ellingtonia like others have (and you know who you are). The Ellington-phile, like the Coltrane, Miles, or Satchmo devotee, knows dates, line-ups, and has searched for every radio broadcast tape available. They spent most of last year either saving for the huge complete retrospective boxsets or ranting about the proper centennial tribute. One reader wrote to complain that the Japanese magazine Swing Journal's poll to select the tunes for this album missed dozens of popular (more like obscure) Ellington classics. 

They pointed out that Allen, in 1994 produced two wonderful Billy Strayhorn tributes for the Progressive jazz label. Others complained that Allen's notoriety in Japan stems from his classic swing tenor sound. Others scolded me for how I characterized his tone. Many said he was a cross between Ellington alumni such as Ben Webster and Paul Gonzales. Some said his breathy tone was all-Stan Getz or Zoot Sims. Readers decried him a throwback to Lester Young. Note: to this point, no one has said his playing wasn't luxuriously complete.As for his band, many wrote that they bought the disc to get their Ellington fix but fell hard for pianist Bill Charlap's trio. A hit in the jazz critics' community, Charlap and company has been recording for the Dutch label Criss Cross of late. Soon to be a star in the US, his near-perfect approach reminded readers more of Tommy Flanagan or Hank Jones than Duke Ellington. 

They criticized me for praising Charlap for not being derivative of Ellington's piano styling. Then again, others criticized me for not stating that he was in fact derivative of Ellington's piano sound. I called it a draw, because they all praised his work. I won't repeat the death threats, even the ones from family members, over Allen's taking liberties with some of the arrangements. In duo with Charlap, they slow "A" Train way down and further slow down "Solitude." Maybe, just maybe Duke, would smile on this glorious tribute. I can't say, but most Ellington fans agreed, just before they returned for their search for a radio air check circa 1949. ~ Mark Corroto   

http://www.allaboutjazz.com/php/article.php?id=5698#.U1LWqVdSvro
 

Personnel: Harry Allen: tenor saxophone; Bill Charlap: piano; Peter Washington: bass; Kenny Washington: drums.

Plays Ellington Songs

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Ken Clark Organ Trio - Mutual Respect

Size: 110,8 MB
Time: 47:19
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Hammond Organ, Funk
Art: Front

01. K Mart Special (3:14)
02. Lil' Joe (4:52)
03. The New Sound (4:53)
04. For Now (4:15)
05. Close The Door (4:35)
06. I Just Woke Up (3:58)
07. Kato (4:08)
08. Mutual Respect (4:23)
09. Nocturne (5:15)
10. Frustration (4:03)
11. Influence (3:38)

Getting down and getting funky, Ken Clark heats things up with a hip attitude. His trio provides the spark to get things moving as the program moves dynamically through eclectic moods. Clark's song list, consisting mostly of originals, affords plenty of variety. From slow, romantic R&B to hip-hop stompers, he grooves with spirit.

Drummer Steve Chaggaris provides a striking backbeat, guitarist Mike Mele solos with fire, and organist Ken Clark creates murals that are made up of "organic" elements. It's true-life stuff from the guys down the street. Clark's trio lends that kind of a credible familiarity to the program.

"Mutual Respect" stutters with a driving swirl. The trio's anthem allows heels to cool while pushing forward in a motion designed for comfort. The song's structure allows them room for an explosion of creative fire. Here, they've captured the essence of mutual respect by working together cohesively to release spasms of energy. Clark sings "Close the Door" with blues on his mind. Romantic R&B colors give the room a glow that's suited to a sultry mood, as the trio oozes with the spirit.

The trio's lightweight funk session comes with a familiar appearance. You get the feeling that you've met these players before. Like the house band from your favorite downtown nightspot, Ken Clark's organ trio gives you the kind of performance that rings familiar. ~Jim Santella

Personnel: Ken Clark: organ, electric piano, vocals; Mike Mele: guitar; Steve Chaggaris: drums.

Mutual Respect

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Sinne Eeg - Face The Music

Size: 115,8 MB
Time: 50:03
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front & Back

01. What A Little Monolight Can Do (5:20)
02. Crowded Heart (5:20)
03. The Best I Ever Had (4:34)
04. High Up In The Sky (4:23)
05. Somewhere (4:40)
06. Let's Face The Music And Dance (5:11)
07. Taking It Slow (4:43)
08. New Horizons (4:00)
09. I Draw A Circle (4:22)
10. What Are You Doing The Rest Of Your Life (3:38)
11. Caravan (3:48)

”A fully mature artist who dares to take chances, and succeeds with an instinctive feeling that lends credibility to everything she does.” - Boris Rabinowitsch, Politiken (Danish national daily newspaper) Sinne Eeg released Waiting For Dawn - her second album in her own name - in August 2007, four years after the release of her debut CD Sinne Eeg. Waiting For Dawn has stirred up a great deal of enthusiasm, both among critics and the listening public, and 2007 Sinne Eeg recieved a Danish Music Award (vocal jazz album of the year) for this album. ”Not a single track seems superfluous; not one passage in a song seems lacking – which is why the album is so masterful. Immediately accessible, but at the same time so complex that new layers are constantly revealing themselves.” – Gaffa (Danish music magazine) ”A voice that is warm and tremendously expressive - sometimes revealing a touch of fragility - and whose emotional register ranges from delicate modesty to explosiveness, without falling for the temptation of over dramatizing. Add to this a talent for phrasing and a rhythmic emancipation that makes the music come alive in a way I have not experienced in any other Danish singer. It is equally rare to encounter a CD release containing a series of newly-written songs that are such gems.” - Boris Rabinowitsch, Politiken Sinne Eeg has been exceptionally busy on the Danish music scene - and has also made several tours of Japan and China – during the four years that have passed between her 2003 CD debut and her 2007 release Waiting For Dawn.

Face The Music

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Carolyn Martin - A Platter Of Brownies: The Music Of Milton Brown

Size: 128,6 MB
Time: 54:39
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Swing, Big Band, Vocals
Art: Front

01. Right Or Wrong (2:50)
02. Sittin' On Top Of The World (4:39)
03. Keep Knockin' But You Can't' Come In (2:52)
04. Some Of These Days (4:06)
05. Who's Sorry Now (2:49)
06. There'll Be Some Changes Made (3:08)
07. In The Shade Of The Old Apple Tree (4:09)
08. Chinatown My Chinatown (3:23)
09. Four Or Five Times (3:11)
10. Sweet Georgia Brown (3:30)
11. I'm Confessin' (That I Love You) (4:01)
12. Down By The Ohio (3:27)
13. The Waltz You Saved For Me (3:44)
14. Take It Slow And Easy (3:13)
15. Wabash Blues (4:21)
16. Musical Brownies Theme (1:09)

Why I recorded a “Platter of Brownies: The Music of Milton Brown”, by Carolyn Martin

I’ve always taken a rather broad view about what qualifies as “western swing.” I’ve recorded brand new compositions as well as songs from Broadway shows and beloved movies. I've recorded songs by artists from Hank Williams and Faron Young to Duke Ellington and Rosemary Clooney, as well as classics by those giants on whose shoulders all of us who make this music stand: Bob Wills, Spade Cooley and Cindy Walker.

For this project, the band and I decided we would tap into the roots of the genre – and that led us straight to the music of Milton Brown and His Musical Brownies. We had Milton’s complete recordings with us while we were on tour in Canada last summer, and once we decided to do the record, we discovered that our job was not so much finding songs that we liked but choosing which songs to discard – not an easy task!

In the end, the 16 songs on “A Platter of Brownies” are a fair representation of the Brownies’ varied repertoire. Our goal was not to duplicate the sound of the original recordings; our arrangements, which were group efforts done in the studio immediately prior to recording, were fashioned to suit our inclinations and musical tastes while trying to retain the energy and spirit of the Brownies’ wonderful versions.

This album would not have been possible without the incredible musicians and singers who wholeheartedly contributed their talents to this project. Thanks to all of you. You swing hard! ~Carolyn Martin

A Platter Of Brownies

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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