The Eddie Metz Jr Trio - Bridging The Gap

Bitrate: 320K/s
Time: 63:08
Size: 144.6 MB
Styles: Swing, Contemporary jazz
Year: 2008
Art: Front

[5:47] 1. Falling In Love With Love
[4:06] 2. Huggin' Higgins
[5:18] 3. Overjoyed
[4:38] 4. I'm Old Fashioned
[5:47] 5. Count Your Blessings (Instead Of Sheep)
[5:39] 6. Bodhisattva
[4:37] 7. Ner Blues
[4:15] 8. One Less Bell To Answer
[4:25] 9. The More I See You
[4:24] 10. Crazy Life
[4:28] 11. Little Girl
[4:53] 12. More Than You Know
[4:44] 13. Gotta Get A Hold Of Myself

Veteran jazz musicians like drummer Eddie Metz, Jr. encounter the same challenge all of the time, particularly when they play weekend jazz parties: the obvious aging of their audience. Although many older fans resist the playing of newer pop material, musicians have to find a way to draw new listeners to eventually replace older ones. So he recruited Italian pianist Rossano Sportiello and bassist Nicki Parrott, with fellow jazz party regulars John Allred (trombone) and Harry Allen (tenor sax) added on several tracks. There are plenty of great old standards: delightful, swinging trio settings of "Falling in Love with Love," "I'm Old Fashioned," "The More I See You," and a sublime "More Than You Know." Modern pop is represented by enjoyable interpretations of Stevie Wonder's "Overjoyed" and Steely Dan's "Bodhisattva" and a bossa nova setting of 1970s Italian pop singer Gino Vannelli's "Crazy Life," featuring Allred carrying the melody, while Parrott sings "One Less Bell to Answer," a hit decades earlier for the 5th Dimension.

Metz penned the understated "NER Blues," which will be immediately recognized by any seasoned jazz fan as a tribute to Count Basie, while the full quintet is heard in the sassy "Huggin' Higgins," a peppy salute to veteran pianist Eddie Higgins, another jazz party regular who crosses paths with the rest of the band on occasion. Metz has done his part to bridge the generation gap among jazz fans; now it is up to the listeners to take the first step across it. ~ Ken Dryden

Ed Metz, Jr. (drums); Nicki Parrott (vocals, bass instrument, bass guitar); Rossano Sportiello (piano); Harry Allen (tenor saxophone); John Allred (trombone). Audio Mixers: Veit Renn; Charlie Bertini. Recording information: Nola Studios, New York, NY (02/18/2008/02/19/2008).

Bridging The Gap

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The Indigo Kings - Against A Brick Wall

Bitrate: 320K/s
Time: 58:56
Size: 134.9 MB
Styles: Vocal jazz, Swing
Year: 2012
Art: Front

[3:42] 1. Honey
[4:28] 2. Do Right By Me
[4:03] 3. Room At The Top
[5:43] 4. I'll Get Used To You
[4:06] 5. How Can It Be True
[4:24] 6. Mr Wonderful
[5:01] 7. Make Love To Me
[6:27] 8. The Word Love
[4:31] 9. Tonight
[7:31] 10. Good - To Be Bad
[3:50] 11. Junk Life Daylight
[5:04] 12. Lover

"It sounds...‘goodtime swing’ on first playing, with some smooth harmonies and tight ensemble playing. The main vocalist has a sometime Billie Holiday feel, the sax of Emma Stone is mellow and inventive and O’Connell’s lead guitar adds blues...while the stomping piano is pure jazz. It’s all a bit doo-wop, Andrews Sisters even...I bet they put on a great live gig" ~ Blues Matters Magazine

Against A Brick Wall

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Kira Hooks - Elephant Heart

Bitrate: 320K/s
Time: 47:29
Size: 108.7 MB
Styles: Alt pop-rock, Adult Alternative
Year: 2014
Art: Front

[4:19] 1. Elephant Heart
[3:38] 2. How Beautiful Life Is
[4:08] 3. When I Run Into You
[3:34] 4. Latin Lover
[4:01] 5. Sedusa Electronica
[4:32] 6. 38 Balloons
[3:36] 7. Bittersweet
[4:05] 8. Stepping Stone (Feat. Alejandro Millan)
[2:36] 9. Can't Hold Hands With Time
[4:09] 10. Feel At Home
[2:52] 11. Try To Hold On To You (Goodbye)
[5:54] 12. Underground Sky

Hailing from Los Angeles, Kira Hooks is a driven, passionate and charismatic singer songwriter who set out to approach her music with a unique feel. Her brand new album, 'Elephant Heart', features a collection of 12 songs that fall somewhere in between the warmth of soul, the melodies of pop and the explosive grooves of Latin / funky music.

The album is colorful and kaleidoscopic, featuring the performances of an ensemble of proficient and expressive musicians whose sound is a great complement to Kira's vibrant and heartfelt vocals. This self-proclaimed “old soul” managed to create a sound that defies genre limitations, borrowing inspiration from many different eras and performers the likes of Billie Holiday, The Andrew Sisters, Ray Charles and Cole Porter, just to name a few. Kira is an eclectic performer and talented songwriter who refuses to get stuck in a box, while managing to keep her music accessible and easy to relate to.

Elephant Heart

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Sarah DeLeo - The Nearness of You

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 48:18
Size: 111,1 MB
Art: Front

(4:58)  1. If I Had You
(3:36)  2. It's a Good Day
(6:15)  3. The Nearness of You
(4:07)  4. (The Night Time is) The Right Time
(5:09)  5. The Glory of Love
(6:35)  6. Blackbirds
(4:43)  7. Too Young for the Blues
(3:21)  8. Angel Eyes
(3:48)  9. It's Easy to Remember
(5:40) 10. So in Love

Sarah DeLeo, a young New York-based singer, conjures up images of Peggy Lee and the elegant supper club years of the 1950s and 1960s. I was particularly impressed with the tune selection and arrangements on her debut, The Nearness of You. She begins the album with a bossa nova version of "If I Had You" that works wonderfully and gives a fresh lease on life to a song that doesn't get much play any more. It was also nice to hear the sorely overlooked Peggy Lee/Dave Barbour tune "It's a Good Day." DeLeo has the Peggy Lee phrasing down pat, and she has mastered her understated swinging style. DeLeo shows that she doesn't have to shout to swing or to sing the blues. This can heard in her versions of "(The Night Time is) The Right Time" and an inspired shuffle version of "The Glory of Love" a tune I normally despise, but somehow DeLeo makes it work. Although this album is a tribute to the great American Songbook and examines familiar musical territory, one new discovery was the humorous Chuck Meyer/Biff Jones tune "Too Young for the Blues" and its Dave Frishberg-like lyrics. This is followed, however, by a very soulful and bluesy version of "Angel Eyes" that she sings accompanied only by Mark Verdino's bass. 

DeLeo's ballad singing is truly inspired. With a musicality that belies her youth, she can slow down a ballad like Shirley Horne and bring a poignancy to the simplest phrase, as evidenced by her versions of "The Nearness of You" and "It's Easy to Remember," both of which feature tasteful obbligatos by guitarist Chris Bergson. Ending the album as she began, DeLeo presents a bossa nova version of "So in Love," and like all of Cole Porter's tunes, it seems to have anticipated the bossa nova revolution by several decades. This is a wonderful album that features a delightful voice, imaginative arrangements, and a group of musicians who perform with total musical cohesion. It exhibits something we encounter very rarely in these vulgar times: consummate taste. My only quibble is its 48 minute duration. ~ William Grim   http://www.allaboutjazz.com/the-nearness-of-you-sarah-deleo-sweet-sassy-music-review-by-william-grim.php#.U2MeQ1eS-PM
 

Personnel: Sarah DeLeo: voice; Brian Charette:piano; David Cook: Fender Rhodes; Chris Bergson: guitar; Mark Verdino: bass; Diego Voglino: drums; Chuck Mackinnon: trumpet.

The Nearness of You

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Hot Club of Cowtown - Ghost Train

Styles:  Gypsy Jazz
Year: 2002
File: MP3@320K/s
Time: 42:41
Size: 98,4 MB
Art: Front

(3:07)  1. Sleep
(3:20)  2. Forget-Me-Nots
(3:10)  3. Home
(4:24)  4. It Stops with Me
(2:54)  5. Secret of Mine
(5:55)  6. Paradise with You
(3:00)  7. Fuli Tschai (Bad Girl)
(3:24)  8. You Took Advantage of Me
(4:18)  9. Before You
(2:20) 10. Cherokee Shuffle
(3:17) 11. Chip Away the Stone
(3:27) 12. Pray for the Lights to Go Out

Smoky Parisian bistros and steamy eight-to-the-bar rhythms, with an occasional two-step toward Texas roadhouse swing, continue to inspire Austin's archival threesome on Ghost Train. The band covers a few old tunes, but the best performances crop up on their own songs and particularly the ones fashioned with Art Deco affectation. These dominate the first part of the album, most persuasively on "Sleep," deftly written and performed in fairly authentic gypsy style, and "Home," which features a disarming, unaffected vocal by Elana Fremerman over a sly and slippery melody line. Hot Club of Cowtown's relatively routine performance of "You Took Advantage of Me" leads to wilder Western territory; here, aside from Fremerman's searing fiddle throughout "Cherokee Shuffle," their reversion to rawboned cowboy rusticity leaves an anti-climactic aftertaste. Paradoxically, these Texans feel more at home when their minds and their music are thousands of miles away. ~ Robert L.Doerschuk   http://www.allmusic.com/album/ghost-train-mw0000228137

The Hot Club Of Cowtown: Whit Smith (vocals, guitar); Elana Fremerman (vocals, violin); Jake Erwin (vocals, upright bass). Additional personnel: Joe Kerr (piano).

Ghost Train

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Scott Hamilton - Back in New York

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 68:26
Size: 160,3 MB
Art: Front

(7:17)  1. What is This Thing Called Love
(8:26)  2. Wonder Why
(6:11)  3. Blue 'N' Boogie
(5:14)  4. I've Grown Accustomed To Her Face
(8:07)  5. Lullaby of The Leaves
(6:15)  6. Fine and Dandy
(5:53)  7. Bouncing With Bud
(7:07)  8. Love Letters
(5:41)  9. This is Always
(8:11) 10. I've Just Seen Her

Journeyman tenor saxophonist Scott Hamilton keeps things light and swinging on Back in New York. Bringing to mind a mix of Dexter Gordon and Ben Webster, Hamilton has always displayed an unerring classicist aesthetic, and this album is no exception. Featuring the deft rhythm section of pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington, Back in New York is a template for what solid modern mainstream jazz should sound like. To these ends, Hamilton kicks things into gear with a sprightly take on "What Is This Thing Called Love," nudges his way through a tasty samba version of "Love Letters," and keeps thing warm and fuzzy on "This Is Always."    ~ Matt Collar   http://www.allmusic.com/album/back-in-new-york-mw0000672219

Personnel: Scott Hamilton (saxophone, tenor saxophone); Peter Washington (double bass); Bill Charlap (piano); Kenny Washington (drums).

Back in New York

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David Hazeltine Trio - Pearls

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 48:57
Size: 119,8 MB
Art: Front

(5:39)  1. What Kind Of Fool Am I
(4:04)  2. My Old Flame
(8:02)  3. Tha Masquerade Is Over
(7:21)  4. His Lordship (For Cedar Walton)
(5:40)  5. Somewhere
(6:09)  6. Darn That Dream
(5:04)  7. Pearls
(6:56)  8. Close Enough For Love

David Hazeltine is one of a handful of young pianists who has successfully forged his own distinctive style and musical voice out of the accumulated greatness and weight of a modern piano tradition. David's influences extend from Art Tatum and Bud Powell to such great living masters as Buddy Montgomery, Barry Harris and Cedar Walton. David made his professional debut at age thirteen in Milwaukee, and later worked extensively in and around Chicago and Minneapolis. In Milwaukee, David served as house pianist at the famed Milwaukee Jazz Gallery, working with such greats as Charles McPherson, Eddie Harris, Sonny Stitt, Pepper Adams and Chet Baker. In fact, it was Baker who encouraged David to make his mark in New York City. Since moving to New York City in 1992, David has made a name for himself as a “musician's musician.” In addition to his working trio (with drum legend Louis Hayes and bassist Peter Washington), David is in constant demand as a sideman. Recent credits include work with Freddie Hubbard, James Moody, the Faddis-Hampton-Heath Sextet, the Carnegie Hall Jazz Band, the Louis Hayes Quintet, and Marlena Shaw, for whom he serves as pianist, arranger, and musical director. 

Recently David was spotlighted on Marian McPartland's “Piano Jazz” radio program. David is also a member of the band “One For All” which features rising tenor star Eric Alexander. David¹s debut cd as a leader Four Flights Up (featuring Slide Hampton,) released in 1996 on the Sharp Nine Label, received high praise from critics and musicians alike. Since then, he has recorded five more cds for Sharp Nine, the latest being Manhattan Autumn featuring Eric Alexander. David has also recorded five cds for the Criss Cross label, the most recent being Close To You. In Japan, David's four piano trio releases for the Venus label, tributes to Bill Evans (Waltz For Debby) and Horace Silver (Senor Blues), a collection of Hazeltine arrangements and originals (Pearls), and a compilation of jazz standards (Alice In Wonderland) have won him a large and growing following. In addition to David's fifteen dates as a leader, his recorded work as a featured sideman reflects his status as one of the first call pianists in New York. Recent efforts include sessions with James Moody, Freddy Cole, Marlena Shaw, Jon Faddis, and Louis Hayes. As a dedicated teacher, Hazeltine's career reflects his intense commitment to the advancement of jazz culture and awareness. In Milwaukee, he was co-founder and director of The Jazz School, and the Program Coordinator of Jazz Studies, and later Department Chairman at the Wisconsin Conservatory of Music. Recently, he served as Associate Professor at Berklee College Of Music. Perhaps David best sums up his feelings about his art and his career: “... the development of the body of music we call jazz is one of the marvels of the 20th century. To contribute to that tradition is all I want to do.” http://musicians.allaboutjazz.com/musician.php?id=7530#.U2Ln5FeS-PM

Personnel:  David Hazeltine (Piano); Peter Washington (Bass); Joe Farnsworth (Drums).

Pearls

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Girl Talk - Talkin' Jazz

Bitrate: 320K/s

Time: 51:15

Size: 117.3 MB

Styles: Vocal jazz

Year: 1996

Art: Front

[2:50] 1. Girl Talk

[3:06] 2. Blue And Sentimental

[4:03] 3. O Grande Amor

[5:33] 4. Polkadots And Moonbeams

[3:43] 5. September In The Rain

[6:36] 6. It's Easy To Remember

[5:15] 7. Estate

[3:56] 8. Let's Cool One

[5:07] 9. Blame It On My Youth

[4:22] 10. Beautiful Love

[6:37] 11. I Fall In Love To Easily

Girl Talk is the name of a Norwegian jazz trio. The band was formed by Bodil Niska in 1992, and consists of Elizabeth Walker on the piano and Tine Asmundsen on the bass. Their first album, Talkin’ Jazz, was recorded in 1992.

Talkin' Jazz

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Harvey Mason - Chameleon

Bitrate: 320K/s
Time: 51:52
Size: 118.7 MB
Styles: Crossover jazz
Year: 2014
Art: Front

[6:05] 1. Black Frost
[5:28] 2. Montara
[5:55] 3. If I Ever Lose This Heaven
[1:31] 4. Looking Back
[6:49] 5. Before The Dawn
[1:06] 6. Studio Life (Hold It One Second)
[7:00] 7. Places And Spaces
[5:15] 8. Either Way
[1:43] 9. Mase's Theme
[6:56] 10. Chameleon
[3:59] 11. Looking Forward (Breaking Bad) [bonus Track]

Harvey Mason is among the most recorded and in-demand drummers of all-time. A legendary, multi-GRAMMY® nominated session drummer, producer, composer & recording artist, he has worked with a pantheon of musical giants, including Barbra Streisand, James Brown, Herbie Hancock, Beyonce, Christina Aguilera, Usher, Jennifer Hudson, Frank Sinatra, Ray Charles, Bjork, Carlos Santana, Michael Jackson, John Legend, Seal, and the London Symphony Orchestra. He has composed and written songs recorded by artists ranging from Nancy Wilson and Mary J. Blige to The Notorious B.I.G., Lupe Fiasco, Nelly/P. Diddy and T.I.

Chameleon, Mason’s April 29, 2014 solo debut for Concord Records and 10th solo project overall, adds one more remarkable chapter to his legacy. A blend of R&B, urban and cutting-edge jazz, Chameleon takes its inspiration from the title track, which Mason co-wrote with Herbie Hancock, and is a knowing nod to Mason himself, aptly dubbed the “Chameleon” for his uncanny ability to perform so many styles of music. The album updates classic tracks that Mason either wrote or actually played on, such as Hancock’s “Chameleon,” Grover Washington’s “Black Frost,” Patrice Rushen’s “Before the Dawn,” Donald Byrd’s “Places and Spaces” and Mason’s own “Either Way.” Look for Mason to hit the road with his new band Chameleon to support his Concord release.

Chameleon

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Chris Bennett - Sail Away - The Tahiti Sessions

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 42:26
Size: 97,8 MB
Art: Front

(6:18)  1. These Foolish Things
(3:40)  2. A Day in the Life of A Fool
(3:53)  3. I Get Along Without You Very Well
(3:38)  4. Perfidia
(5:14)  5. Guess I'll Hang My Tears Out To Dry
(4:16)  6. Sail Away
(2:55)  7. Won't Let Me Go
(4:31)  8. Besame Mucho
(4:09)  9. I Can't Think About It
(3:47) 10. All For Naught

When it comes to vocal jazz, sometimes simplicity is best. Chris Bennett’s new album, Sail Away: The Tahiti Sessions, exemplifies this rule. Bennett, a singer/songwriter who has been performing since the 1970s, remains an underrated interpreter of jazz standards as well as a creator of new classics. Sail Away’s back-to-basics approach may expose her talent to broader audiences. Bennett began her career as a dancer and choreographer, gradually forming her jazz singing and composition skills. Her break came in 1978, when producer Giorgio Moroder asked her to join his disco group Munich Machine. Bennett emerged as lead singer on their sophomore album, which contained a dance cover of Procol Harum’s “Whiter Shade of Pale.” 

She further explored disco, singing backup on Donna Summer’s hits “MacArthur Park” and “Heaven Knows.” During this time she gained acclaim for co-writing and performing the theme to the film Midnight Express. After forging a successful career as a songwriter, producer, and vocalist for artists such as the Manhattan Transfer, Tina Turner, Rita Coolidge, and Johnny Mathis, she returned to her jazz roots in the early 1990s. Her self-titled 1993 release showcased her jazz vocal skills, and since then has over 10 albums to her credit. Sail Away: The Tahiti Sessions was recorded in 2010, although the songs do not necessarily contain any particular elements of the island. Instead, the album maintains an intimate vibe, with sparse arrangements that effectively showcase Bennett’s smooth, deep voice. “These Foolish Things” features just piano and strings, beautifully arranged to highlight the song’s melody. Bennett gives a heartfelt performance, never over-singing the words. 

A similar arrangement also benefits her interpretation of Hoagy Carmichael’s “I Get Along Without You Very Well,” with Bennett taking a cue from some of the best pop and jazz vocalists: she carefully considers every word in the lyrics, lingering over certain phrases while emphasizing other key words. Again, along with arrangers Eric Doney and Bill Augustine, she retains the song’s grace and simplicity. Not limited to ballads, Bennett also demonstrates her ability to interpret Latin rhythms. Her warm voice wraps around the words of “Perfidia,” while percussionist Ariel Cruz provides a soft, subtle rhythm that perfectly accompanies Felix Vilchez’s deceptively simple piano playing. Like Ralph Sharon, Vilchez knows how to create complicated fills that accent certain parts of the song, yet plays straightforward chords that cushion rather than overshadow the lead vocalist. The classic “Besame Mucho” also benefits from the elegant treatment, with Vilchez’s piano and Armando Castagnoli’s soprano sax perfectly complementing each other. Bennett effortlessly croons in Spanish, the entire production stressing the song’s seductive qualities. In addition to standards, Sail Away: The Tahiti Sessions also includes original compositions. Bennett’s songs seamlessly fit in with the album’s overall tone, with lyrics describing love lost and regained. 

The best of these originals, “I Can’t Think About It,” could become a modern standard. Singing over a gentle samba rhythm, Bennett sings of recovering from a love affair gone sour. “I’m ready for a new romance…Time for me to slam this door/Use the fear, don’t cry anymore,” she croons, the subtle percussion intermingling with the piano and saxophone. The song’s melody lingers long after the album ends. “Won’t Let Me Go” suits a jazz chanteuse, its highly emotional lyrics and intimate arrangement (sans percussion) conjuring images of a smoky room and a vocalist dramatically singing the words, accompanied by piano. Sail Away: The Tahiti Sessions is a pleasant surprise, a stellar collection of standards and originals performed by a gifted, seasoned artist. Perhaps this album will draw more attention to the underrated Bennett, and will demonstrate that sometimes simplicity is the key for creating memorable, inspiring jazz.   http://blogcritics.org/music-review-chris-bennett-sail-away/

Personnel: Chris Bennett: vocals; Eric Doney: piano.

Sail Away - The Tahiti Sessions

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Magos Herrera - Distancia

Styles: Latin Jazz
Year: 2009
File: MP3@320K/s
Time: 62:47
Size: 144,4 MB
Art: Front

(6:31)  1. Reencuentro
(7:01)  2. Tus Ojos
(5:42)  3. New Song
(6:42)  4. Retrato Em Branco E Preto
(4:38)  5. Inutil Paisajem
(7:01)  6. Vera Cruz
(5:18)  7. Staying Closer
(6:48)  8. Tu Mi Delirio
(5:10)  9. Alegria
(7:51) 10. Dindi

Mexican jazz vocalist Magos Herrera may not be a household name among jazz audiences, but she certainly deserves to be. With the release of her seventh album as a leader, Distancia (Sunnyside, 2009) shows off not only her rich contralto voice but also an artist with expressive depth. Distancia is an extraordinarily diverse album. Herrera sings in three languages English, Portuguese and Spanish and, in doing so, treads broken ground of Brazilian composers Antonio Carlos Jobim and Milton Nascimento, and Cuban composer César Portillo de la Luz. Herrera's own compositions, including "Reencuentro," "Tu Ojos" and "New Song," are also featured, and are full of life, passion and unforgettable melodies. Despite the album's eclectic repertoire and various stylistic approaches, it is held firmly together by a stellar band, as drummer Alex Kautz navigates with ease between an Afro-Cuban triplet feel and a loping swing on "Alegría." 

On Herrera's "Staying Closer," Kautz serves as the singer's competent co-arranger. Underneath her glass-like vocals, Kautz cooks up a driving, syncopated fusion groove, kept at a rolling boil. The energy is contagious, propelling guitarist Lionel Loueke through an agile solo feature. Pianist Aaron Goldberg proves to be a deft accompanist on the rubato introduction to de la Luz's classic "Tú, Mi Delirio." Goldberg returns later for a superb solo to rival the best linear conceptions of Herbie Hancock. The quartet plays with a truly lovely sense of dynamic contour, and Herrera takes full expressive advantage with impassioned whispers and a grand dramatic climax. The song makes a quietly joyful close, giving Loueke and Herrera space for creative interplay. 

The gems of the album come with Herrera's thoughtful reinterpretation of two classic Brazilian songs, both sung in her native Spanish. Jobim's "Inutil Paisaje" is rendered here as a contemplative ballad, but one propelled by modern reharmonization. Herrera's final reading in English proves that beauty can be found inside immense solitude. Herrera's arrangement of Nascimento's "Veracruz" transforms the Brazilian composer's samba into a loping lament in 5/4 time. Loueke delivers another intricate solo, but leaves ample room for interaction with bassist Ricky Rodriguez. For Distancia, Herrera creates a repertoire of well-crafted arrangements, executed with energy and elegance by her quartet, but her use of the human voice boosted the ensemble to greater heights. "Reencuentros" opens the album and features Herrera imitating the bass line, then breaking into a playful improvisation over the 7/8 vamp. Sisters Ingrid and Jennifer Beaujean join in, as if to simulate a classic brass section throughout the song. Later, the three singers combine forces to expand the final chorus of "Tus Ojos" and add a funky postlude to "Veracruz." As a Latin American female jazz singer, Herrera is often compared to fellow New Yorkers Luciana Souza (of Brazil) and John Ellis (of Chile). With the release of Distancia, there is no mistaking that Herrera has sculpted a distinctive and charming musical identity. ~ Holly Holmes   http://www.allaboutjazz.com/distancia-magos-herrera-sunnyside-records-review-by-holly-holmes.php#.U2VmTleS-PM 

Personnel: Magos Herrera: vocals; Alex Kautz: arranger, drums; Lionel Loueke: guitar, vocals; Aaron Goldberg: piano, Ricky Rodriguez: bass; Ingrid and Jennifer Beaujean: background vocals.

Distancia

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Scott Hamilton & Warren Vache - With Scott's Band in New York City

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 43:13
Size: 109,6 MB
Art: Front

(6:51)  1. Tea for Two
(2:26)  2. You Took Advantage of Me
(5:42)  3. Freego
(4:56)  4. Darn That Dream
(5:59)  5. I Love You
(3:05)  6. There Will Never Be Another You
(4:22)  7. You're Getting to Be a Habit With Me
(5:24)  8. Raus!
(4:25)  9. Danny Boy

Tenor saxophonist Scott Hamilton is in typically fine form on his third album as a leader for Concord. While Hamilton is equally skillful on ballads and hot stomps, cornetist Warren Vache sometimes takes a few too many chances on the uptempo material although one admires his brave attempts; he fares best on "Darn That Dream." Singer Sue Melikian sounds fine on two short vocals, but it is the instrumentals by the sextet (which includes guitarist Chris Flory and pianist Norman Simmons) that are most memorable. ~ Scott Yanow   http://www.allmusic.com/album/scott-hamilton-and-warren-vache-with-scotts-band-in-new-york-mw0000184101

Personnel: Scott Hamilton (tenor saxophone); Warren Vache (cornet, flugelhorn); Sue Melikian (vocals); Norman Simmons (piano); Chris Flory (guitar); Phil Flanigan (bass); Chuck Riggs (drums).

With Scott's Band in New York City

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Steve Kuhn - Seasons of Romance

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 52:47
Size: 121,1 MB
Art: Front

(4:58)  1. Six Guns
(4:12)  2. Romance
(5:26)  3. Visions of Gaudi
(9:11)  4. There Is No Greater Love
(5:58)  5. The Pawnbroker
(6:05)  6. Remember
(6:16)  7. Clotilde
(5:35)  8. Good Morning Heartache
(5:02)  9. Looking Back

The great jazz pianist Steve Kuhn tackles well-known standards and not so familiar compositions by performers such as Brazilian guitarist Dori Caymmi, bassist Steve Swallow and a contribution from saxophonist Bob Mintzer on Seasons of Romance. The opener, saxophonist Bob Mintzer's piece titled, "Six Gun" is an ebullient, mid-tempo swing while Kuhn's easily-recognizable or patented elegance and signature style is notably portrayed from the onset. Kuhn's flair and casual poise ride atop the skillful rhythmic articulations by veteran and highly esteemed bassist George Mraz in collaboration with the inimitable jazz session drummer, Al Foster. Here, Kuhn's intelligent comping and sweeping lines aid Mintzer's breezy and lyrically rich tenor sax solo. Kuhn displays his romantic side on Dori Caymmi's touching, "Romance" while trumpeter Tom Harrell joins Kuhn, Mraz and Foster on his original composition, "Visions of Gaudi." 

The trumpeter's majestic yet smooth, sleek tone and poignant phrasing equalize Kuhn's reflective or soul-searching performance as they comfortably dance through another persuasively memorable composition. Kuhn is in stellar form on Steve Swallow's piece, "Remember" while demonstrating impeccable technique and emotive characteristics via stylish utilization of tremolo, subtle inflections, swirling chord progressions yet most of all, the remarkable synergy he and Harrell enjoy as the primary soloists. Kuhn directs the rhythms with an active left hand on his swinging original "Looking Back" as the pianist and Harrell once again engage in smooth, airy interplay while Kuhn pushes and prods the band in a quiet sort of way! Steve Kuhn's remarkable inventiveness, truly distinctive sound and style, melodic gifts and cultivated approach place him among the vanguard of modern day jazz pianists. Seasons of Romance proves that notion in elevated fashion! ~ Glenn Astarita   http://www.allaboutjazz.com/seasons-of-romance-steve-kuhn-postcards-review-by-glenn-astarita.php#.U2Go2leS-PM
 

Personnel: Steve Kuhn: piano: Bob Mintzer: tenor saxophone; Tom Harrell: trumpet; George Mraz: bass; Al Foster: drums.

Seasons of Romance

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Kenny Burrell - I'll Close My Eyes

Bitrate: 320K/s
Time: 49:08
Size: 112.5 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[ 4:46] 1. Close Your Eyes
[12:23] 2. This Way
[ 4:03] 3. Dead Heat
[ 5:10] 4. Pivot
[ 9:27] 5. Little Melonae
[ 4:30] 6. Out Of Nowhere
[ 8:47] 7. Blue Duke

After 40 years as a jazz professional, appearing on several hundred albums as leader and sideman, Kenny Burrell is among the handful of guitar greats who have forever changed the role of their instrument.

Staunch musical integrity and discriminate taste coupled with matchless technique have made the guitarist nonpareil among his peers. "My goal is to play with good tone, good phrasing and to swing," says Burrell, "I strive for honesty in playing what I feel."

"Master instrumentalist and composer," "virtuoso," "historic figure of American guitar." "Ellington's favorite guitar player" - this is a typical sampling of the critical praise routinely bestowed on Burrell, who pioneered the guitar-led trio with bass and drums in the late Fifties. Although he has since worked in countless other formats, from big band to three guitars plus rhythm to solo, he has remained constant in his quest to get the most out of a natural, low-volume, acoustic sound. "My audience has developed so that they come to listen and are quiet," he explains. "Thus I can work in a limited volume range and explore all the subtleties that can happen, which is my favorite part of the music."

I'll Close My Eyes

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Lorraine Feather - Language

Bitrate: 320K/s
Time: 44:25
Size: 101.7 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[4:12] 1. Traffic And Weather
[3:40] 2. We Appreciate Your Patience
[4:29] 3. Very Unbecoming
[3:56] 4. I Love New York At Christmas
[5:02] 5. Home Alone
[2:24] 6. Hit The Ground Runnin'
[4:12] 7. Where Are My Keys
[3:52] 8. In Flower
[4:02] 9. Waiting Tables
[4:34] 10. A Household Name
[3:58] 11. Making It Up As We Go Along

Over her mere seven-album discography, Lorraine Feather has carved out a fulfilling career as a jazz singer far outdistancing many one-shots, far less talented but successful pop-jazz vocalists, and wannabes. Her talent as a lyricist of wit, sarcasm, and keen observations of the American human condition is her true strength, and not always as acknowledged as her verbal chops and inventiveness. Her language goes beyond the nomenclatures of swing, bop, and contemporary improvisation, as Feather exploits many literary references and well-worn phraseology from various acumens, and keeps the proceedings upbeat and interactive between her words and the musical notes offered by her excellent confreres. Pianist Shelly Berg is closest to Feather as a collaborator, writing the music for Feather's cleverest lyrics. The quick, lithe, bouncy, and brisk "Traffic and Weather" relates to Bay Area commuter congestion, climatological issues, or references to inseparable pairings, and "We Appreciate Your Patience," with a cynical, animated take on annoying automated answering services, teams Feather and Berg in multilevel harmonic and whimsical refrains. Feather is fond of stringing worn-out clichés together, as on "Patience," but is in an especially sharp mood about trite multiple sports adages on the bopper "Hit the Ground Runnin'," featuring a furious Russell Ferrante on piano, and tells the all too familiar thoughts-racing, mouse-on-a-treadmill tale of "Where Are My Keys?," turning a dilemma into fun. Also skillful, aside from their lyric content, are her instrumental ideas, like using a horn section and a drummer only on the sassy tale of a career dilemma "Waiting Tables," or the slinky, bluesy Duke Ellington-like "A Household Name," debunking stardom and alerting you to the pitfalls of the celebrity trap. Feather can also be sentimental, as on her romanticized Billy Strayhorn waltz tribute "In Flower," the melancholy "I Love New York at Christmas," and her most languid, evocative tune, "Making It Up as We Go Along." She is rarely self-conscious or insular, but Ferrante's modal two-chord piano prop-up during "Home Alone" keeps Feather's possible dour mood in check, although she can't help being doting on "Very Unbecoming." On occasion, vocalists Tierney Sutton, Janis Siegel, and Cheryl Bentyne enter in supportive vocal cameos. This may very well be Lorraine Feather's best effort, certainly the one where collaboration is the key, and statements on our disposable, technology-driven, time-consuming society had to be made. Bravo Lorraine, and hang in there! ~ Michael G. Nastos

Recording information: Entourage; Visual Rhythm.

Lorraine Feather (vocals); Janis Siegel (vocals, background vocals); Grant Geissman (guitar); Greg "Frosty" Smith (saxophone); Willie Murillo, Gary Grant (trumpet); Andy Martin (trombone); Michael Lang , Russell Ferrante, Shelly Berg (piano); Michael Valerio (bass guitar); Gregg Field, Michael Shapiro (drums, percussion); Cheryl Bentyne, Tierney Sutton (background vocals). Audio Mixer: Carlos Del Rosario.

Language

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Blue Harlem - Me And My Radio

Bitrate: 320K/s
Time: 46:28
Size: 106.4 MB
Styles: Jump blues, Swing
Year: 2011
Art: Front

[4:00] 1. Ain't Misbehavin'
[3:02] 2. Reelin' & Rockin'
[3:47] 3. Hound Dog
[3:31] 4. Angel City Blues
[2:54] 5. Blue Jean Shuffle
[3:11] 6. I Put A Spell On You
[2:17] 7. Give Me Time To Explain
[4:32] 8. For You My Love
[3:29] 9. The King
[3:41] 10. What A Fool I Was
[2:38] 11. Teardrops From My Eyes
[4:56] 12. Harlem Nocturne
[3:38] 13. On Revival Day
[0:46] 14. On Revival Day (Reprise)

This is the sixth release from Blues and Swing Maestros Blue Harlem and the second to feature fabulous songstress Sophie Shaw.

Me And My Radio

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Marlena Studer - Crazy He Calls Me...

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 56:50
Size: 131,9 MB
Art: Front

(3:56)  1. I'll Remember You
(4:11)  2. Every Time We Say Goodbye
(3:45)  3. Blue Skies
(4:51)  4. Come Rain Or Come Shine
(5:15)  5. Besame Mucho
(4:28)  6. I've Got You Under My Skin
(5:58)  7. You Go To My Head
(6:06)  8. Summertime
(4:29)  9. But Not For Me
(3:24) 10. Cheek To Cheek
(5:31) 11. Cry Me A River
(4:53) 12. Crazy He Calls Me

Over the years, I have sung in a number of venues but it wasn't until I spent ten years in New Orleans that a passion for jazz got into my blood.  While doing my "day gig" as Sociology Professor at Tulane University, I was invited to sing with the big band, Jubilation! and I was hooked.  My appetite for performing jazz standards has grown exponentially since then. I have had opportunities to sing with several bands since then, in Washington DC and Ann Arbor.  After a move to Michigan in 2001, I took a plunge into entrepreneurship and developed my own wine label, Solterra. Also, I began to pursue my dream of producing my own musical recording.  I had the great fortune of joining the Cliff Monear Trio, a terrific jazz trio headed by Cliff Monear, a superbly gifted jazz pianist, along with Nick Calandro (bass)  and Scott Kretzer (drums).  I poured my heart into the CD, "Crazy He Calls Me" striving to make the words count and the moods linger in a selection of timeless tunes that I am "crazy" about.     

~ Bio  http://www.marlenastuder.com/BIO

Crazy He Calls Me...

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Adrian Raso & Fanfare Ciocarlia - Devil's Tale

Styles: Guitar Jazz, Swing
Year: 2014
File: MP3@320K/s
Time: 40:55
Size: 94,9 MB
Art: Front

(4:06)  1. Urn St. Tavern
(3:10)  2. Swing Sagarese
(4:27)  3. The Absinthe-Minded Gypsy
(2:46)  4. C'est La Vie
(2:39)  5. Quattro Cicci
(2:53)  6. Charlatan's Waltz
(2:53)  7. Devil's Tale
(3:11)  8. Leezard's Lament
(3:16)  9. Cafe Con Leche
(3:34) 10. Spiritissimo
(3:47) 11. Birelli's Waltz
(4:07) 12. Django

Balkan brass bands, who compete fiercely among themselves, are prone to blow away anyone who comes near. Credit, then, to Toronto guitarist Adrian Raso, who has tamed Romania's Fanfare Ciocarlia for a winning collaboration rooted in the "Gypsy swing" of Django Reinhardt. Raso is an eclectic talent; the title track carries the twang of electric surf guitar, the languid Leezard's Lament finds him improvising on banjo, and Spiritissimo dips into flamenco flavours. The 12-piece band are splendidly restrained, swelling gently behind waltzes, contributing accordion and clarinet and only occasionally ripping into their trademark supercharged intricacy. All instrumental and all delightful.     ~ Neil Spencer   http://www.theguardian.com/music/2014/jan/05/adrian-raso-fanfare-ciocarlia-devils-tale-review

Personnel: Adrian Raso (guitar, banjo, electric bass); Costica "Cimai" Trifan (vocals, trumpet); Oprica Ivancea (clarinet, alto saxophone); Daniel Ivancea (alto saxophone); Paul Marian Bulgaru, Trifan Craciun, Radulescu Lazar (trumpet); Monel "Gutzel" Grifan, Constantin "Pinca" Cantea (tuba); Laurentiu Mihai Ivancea (baritone horn); Constantin "Sulo" Calin (tenor horn); Costel "Gisniaca" Ursu (drums); Nicolae Ionita (percussion).

Devil's Tale

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Scott Hamilton - Tenorshoes

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 41:59
Size: 96,8 MB
Art: Front

(4:46)  1. I Should Care
(4:34)  2. Falling In Love With Love
(6:35)  3. The Shadow Of Your Smile
(5:23)  4. The Nearness Of You
(4:46)  5. How High The Moon
(5:34)  6. Our Delight
(6:06)  7. My Foolish Heart
(4:11)  8. O.K.

Tenor saxophonist Scott Hamilton (who can be overly relaxed and comfortable at times) often sounds at his most heated when playing with pianist Dave McKenna, and all of their collaborations are easily recommended. This Hamilton-McKenna effort with bassist Phil Flanigan and drummer Jeff Hamilton mostly emphasizes ballads (although sometimes at medium tempos), plus a cooking version of "How High the Moon" and Hamilton's original "O.K." A typically swinging and consistent Scott Hamilton record which has been reissued on CD. ~ Scott Yanow  http://www.allmusic.com/album/tenorshoes-mw0000654981

Personnel: Scott Hamilton (tenor saxophone); Dave McKenna (piano); Phil Flanigan (bass); Jeff Hamilton (drums).

Tenorshoes

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Francesca Esmé - Three Days That Come Too Slow

Size: 113,4 MB
Time: 49:05
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Vocals
Art: Front

01. Adult Things (7:04)
02. Be Cool (4:11)
03. Clap Hands (4:26)
04. Company (5:39)
05. Equinox (6:32)
06. He's A Tramp (4:28)
07. I'm Your Man (4:38)
08. It Never Entered My Mind (6:27)
09. People Make The World Go Round (5:37)

A gifted young jazz singer whose classically trained voice evokes the tradition of great singers of the 1950’s. On the cutting edge of vocal style, Francesca Esmé is one of the most promising figures on the national vocal jazz spectrum. In the great tradition of June Christy and Peggy Lee, Francesca is making her mark on the national stage as a singer of taste and distinction, with a bit of Southern grit thrown in the mix.

Born Francesca Esmé Johnson into music, her father (bassist Marc Johnson) played in Bill Evans' last trio as well as with Stan Getz, John Abercrombie, Eliane Elias, and many others. Francesca’s first words were, literally, "Bill Evans". Her mother (Stephanie Jutt) is a classical flutist and founder of the Wisconsin-based chamber music festival Bach Dancing & Dynamite Society. Francesca grew up absorbing the music that would sculpt her future.

Developing her musical talent at an early age, she studied piano and played cello as a young child. In middle school, she began singing in the Madison Children's Choir in Wisconsin. Right away she knew the stage was her home. She was encouraged to take voice lessons and began classical training when she reached high school. After receiving a significant scholarship and entering the legendary Jazz Studies program at the University of North Texas (Norah Jones, Marc Johnson), she was able to perform with the Downbeat Award-winning Jazz Singers ensemble. She also sang with many of the university's big bands, including an appearance at the International Association of Jazz Educators Conference in Los Angeles.

After graduating and back in Madison, she has sung regularly with an assortment of jazz musicians, gave a series of jazz workshops in area high schools, and has been heard performing at Restaurant Magnus, Café Montmartre, Samba, Brasserie V, Monroe St. Bistro, and the Concourse. Before moving to Chicago in August 2009 she performed at Madison’s Jazz at 5 on the Capitol Square.

Occasionally fronting Texas band Snarky Puppy on their tour stops, or singing with Chicago's Tom Waits tribute band, Big Time, Francesca shows what she does best, pop music in a jazz idiom. Take the time to listen to Johnson’s own spin on the work of Joni Mitchell, Rickie Lee Jones, and great Motown classics and you’ll be able to see for yourself, she has a musical sense all her own.

Three Days That Come Too Slow

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