Marty Grosz, Keith Ingham & His Paswonky Serenaders - Unsaturated Fats

Size: 161,8 MB

Time: 70:08

File: MP3 @ 320K/s

Released: 1990

Styles: Early Jazz, New Orleans Jazz

Art: Front

01. St. Louis Shuffle (4:13)

02. Prisoner Of Love (4:37)

03. Georgia Bo Bo (3:40)

04. Breezin' (2:57)

05. That Rhythm Man (4:49)

06. Dixie Cinderella (3:42)

07. Say It Whith Your Feet (3:09)

08. Asbestos (4:43)

09. Keep A Song In Your Soul (3:23)

10. If It Ain't Love (5:30)

11. Old Folks Shuffle (4:42)

12. Say Yes (3:35)

13. Lookin' Good But Feelin' Bad (2:44)

14. My Heart's At Ease (2:31)

15. Midnight Stomp (5:05)

16. Charleston Hound (3:01)

17. Strange As It Seems (3:58)

18. Take It From Me (3:41)

This is a rather unusual CD, for few listeners (including early jazz fanatics) would be able to identify the 18 selections as Fats Waller compositions. Only "Lookin' Good But Feelin' Bad" was actually recorded by Waller and, while "St. Louis Shuffle," "That Rhythm Man" and "If It Ain't Love" were slightly known at one time, it had been quite awhile since anyone recorded "Dixie Cinderella," "Absbestos," "Say Yes" and "Charleston Hound." Grosz (who takes some vocals) doubles on guitar and banjo and is joined by pianist Keith Ingham, cornetist Peter Ecklund, clarinetist Joe Muranyi, trombonist Dan Barrett, bassist Greg Cohen and drummer Arnie Kinsella for the spirited and often-surprising program. ~Review by Scott Yanow

Unsaturated Fats 

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Harry Allen - Eu Não Quero Dançar ~I Won't Dance~

Bitrate: 320K/s
Time: 58:14
Size: 133.3 MB
Styles: Saxophone jazz
Year: 1999/2009
Art: Front

[5:19] 1. O Pato
[3:52] 2. Corcovado
[6:58] 3. Desafinado
[3:58] 4. Once I Loved
[3:59] 5. Time Is Standing Still
[6:04] 6. Meditation
[5:38] 7. No More Blues
[4:04] 8. Air
[5:19] 9. I Won't Dance
[3:07] 10. If You Never Come To Me (Inutil Paisagem)
[5:23] 11. Doralice
[4:28] 12. Retrato Em Branco E Preto

Tenor saxophonist Harry Allen shows his hand from the first measure, this is his Stan Getz tribute. He sounds exactly like the Brazilianized musician who found fame with "Girl from Ipanema." Although Allen refutes the title, his sound dances as if it were a paddleball. The lyrical quality is there a hundredfold, backed by a stellar cast of musicians including acoustic guitarist Dori Caymmi, electric guitarist Joe Cohn, pianist Larry Goldings, bassist Dennis Irwin, and drummer Duduka DaFonseca. Eight of the twelve selections are instrumentals, ranging from a typical slow "Once I Loved" and samba informed "No More Blues" to such lighter fare as the title track. The bossa "Doralice" and Allen's hard samba original "Time Is Standing Still" benefit from better arrangements and more aggressive playing. "Corcovado" is a switcheroo in that Goldings' piano states the melody while Allen's tenor fills in the cracks. There are also four vocals sung in Portuguese. Two are by Caymmi, his resonant tenor echoing poems of pining on "O Pato" and "Meditation," while a nine month pregnant Maucha Adnet pushes her vocal chords on the classic "Desafinado" and "If You Never Come to Me." In the liner notes, Allen gives thanks to the jazz fans in Japan, mavens of the carbon copy. When Harry meets his own true voice on his instrument, perhaps then the listener will be the one dancing. Until then this is for specialized tastes from the cool school. ~Michael G. Nastos

Eu Não Quero Dançar ~I Won't Dance~

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Nancy Wilson - If I Had My Way

Bitrate: 320K/s
Time: 51:12
Size: 117.2 MB
Styles: Vocal jazz
Year: 1997
Art: Front

[4:59] 1. Hello Like Before
[4:30] 2. Sweet Love
[4:55] 3. If I Had My Way
[4:16] 4. Wish You Were Here
[4:38] 5. One More Try
[4:46] 6. Not A Day In Your Life
[4:42] 7. Anything For Your Love
[4:14] 8. Where Do I Go From You
[4:56] 9. A Fool In Love
[5:08] 10. Loving You, Loving Me
[4:04] 11. More Love

The 1990s found Nancy Wilson appealing to what was called the "new adult contemporary" market, as well as the black adult contemporary audience. The veteran singer wasn't embracing straight-ahead jazz (something she hadn't done a lot of anyway), although a few songs on If I Had My Way contain slightly jazzy touches. At 59, Wilson brings a relaxed confidence to "Loving You, Loving Me," "Hello Like Before" (a Bill Withers tune), "Anything for Your Love," and other pleasant pop and pop/R&B ballads that would work equally well on an Anita Baker album. In fact, one of the CD's producers, Michael Powell, has often worked with Baker. Wilson's appealing voice had held up well, and she demonstrated that she could still be charming on this collection of enjoyable mood music. ~Alex Henderson

If I Had My Way

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Red Garland - Red's Blues

Bitrate: 320K/s

Time: 75:08

Size: 172.0 MB

Styles: Piano jazz, Hard bop

Year: 1998

Art: Front

[7:55] 1. See See Rider

[4:13] 2. Red Beans

[5:45] 3. Your Red Wagon

[7:33] 4. Birks' Works

[6:39] 5. Ralph J. Gleason Blues

[9:52] 6. The P.C. Blues

[5:20] 7. Black Velvet

[6:35] 8. St. James Infirmary

[8:06] 9. Skinny's Blues

[7:24] 10. Ahmad's Blues

[5:41] 11. Prelude Blues

With sights set firmly set upon the blues, this is bedrock Red Garland, aimed squarely down the middle of his most fertile period. Not everything here is a blues, but they might as well be, given the sameness of mood and approach in this selection of small-group blowing sessions. Wherever you go on Red's Blues, you can't miss Garland's distinctive block chords and light-handed right-handed bop patterns recorded in the soft-focused Van Gelder studio manner, all of which jazz fans would hear constantly down the road in the '60s. And not only that, almost all of the tunes are in the keys of B flat or C, which could make this disc useful for background if not extended listening. Nevertheless, the personnel is often stellar; John Coltrane and Donald Byrd turn up on "Birks' Works," and Arnett Cobb saunters through "Black Velvet" (better known as "Don'Cha Go Way Mad"), Coleman Hawkins is in fine funky form on "Red Beans," and Ray Barretto's congas light up one of the few jazz compositions ever named after a critic ("Ralph J. Gleason Blues"). The 75-minute disc, all of whose contents have been issued on CD before, opens with a long, majestic Garland meditation on "See See Rider" and that pretty much sets the tone. ~Richard S. Ginnell

Red's Blues

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Beata Pater - Black

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 54:41
Size: 125,5 MB
Art: Front

(3:43)  1. Summer Wind
(2:39)  2. Something Happens to Me
(4:07)  3. Moon River
(4:39)  4. Blue Skies
(2:24)  5. I Could Write a Book
(6:19)  6. September in the Rain
(2:52)  7. Nice & Easy
(4:54)  8. Beautiful Love
(3:02)  9. Time After Time
(4:14) 10. Fly Me to the Moon
(4:41) 11. Just Squeeze Me
(6:00) 12. The Very Thought of You
(5:01) 13. I'll Be Seeing You

Beata was originally educated as a classical violinist in Warsaws prestigious music academy. The first to note Beata's talent for singing was her violin professor's wife. Being an opera singer she sensed the eight year old's strong voice and presence and helped Beata get her start in Warsaw's world-reknown opera house. To the chagrin of her professor singing became Beata's passion. At the age of 16 Beata toured Europe for the first time soon headlining shows with over 5000 fans in attendance. At the age of 18 Beata signed with CBS/Sony Records and later moved to London to continue her education. London lead to Japan where Beata's unique style began to take shape. During this 10 year period the jazz community began to take notice of the beautiful Polish girl performing around Asia. Playing with the likes of Walter Bishop Jr and the drummer Jimmy Smith her voice another instrument in the mix. More than a vocalist she brought the soul of long-gone singers back to life. While in Japan besides performing nightly Beata taught violin at the the Yamaha School of Music and continued her recording work with CBS/Sony. 

She recorded and performed with many of Japan's musicians. It was perhaps highlighted by being chosen as the final act at Tokyo's Fireworks Festival in 1994 playing with Walter Bishop Jr and Oda Yuichiro in front of an audience estimated by the media as 6 million people. In 1995 Beata moved to the US. Landing in San Francisco with nothing more than her voice and soul she soon became part of the scene playing throughout the San Francisco bay area. During this time she was quite often accompanied by bassist Buca (Bootza) Necak having played together in Japan. The two recorded an album in 1992 in Yokohama with pianist Donny Schwekendiek entitiled "Session" and once again in 1997 with "Once in a Blue Moon". Beata and Oda Yuichiro reunited to record "Blackout" in his New Jersey studio during the east coast blackout of 2003. Most recently Beata has recorded a new work with Mark Little entitled "Black". On this album they produce a new set of arrangements on classic works with a talented group of musicians. Beata and Mark have just returned from a 10 day tour in Japan promoting the "Black" album.   http://www.jazzreview.com/jazz-spotlights/black-by-beata-pater.html

Personnel: Mark Little (piano), Jon Evans (bass), Mimi Fox (guitar), Alan Hall (drums), Celia Malheiros(percussion), Ken Cohea (sax), Buca Necak (bass), Beata Parker (Vocal).

Black

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Manhattan Jazz Quintet - Blue Bossa

Styles: Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 53:54
Size: 123,6 MB
Art: Front

(6:18)  1. Samba de Orfeu
(5:22)  2. Route 66
(5:43)  3. Englishman in New York
(8:31)  4. Agua de Beber
(4:06)  5. No More Blues
(5:40)  6. Don't Know Much
(4:12)  7. Blue Bossa
(6:56)  8. Wave
(7:02)  9. Amblin'

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. 

Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects  and all of the quintet members later became quite successful in their own careers  but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings  among the comparative very few that actually took place in Manhattan!  for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts.~ Bio  https://itunes.apple.com/us/artist/manhattan-jazz-quintet/id79729527#fullText

Blue Bossa

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Gary Smulyan - More Treasures

Styles: Baritone, Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 52:13
Size: 121,9 MB
Art: Front

(6:10)  1. Wham & They're Off
(5:43)  2. Stop
(6:07)  3. Chick's Tune
(6:17)  4. Beautiful You
(4:57)  5. San Souci
(4:53)  6. Quick Silver
(6:55)  7. For You
(6:18)  8. Surburban Eyes
(4:50)  9. Evans

Perhaps if you asked jazz fans to name a progenitorial baritone saxophonist, they might name Harry Carney or Gerry Mulligan. Yet Gary Smulyan's lineage comes more from musicians like Cecil Payne, Leo Parker, Pepper Adams, Serge Chaloff and Nick Brignola the few baritonists that dared to master the tricky, chromatic music known as bebop. Indeed, More Treasures is oozing bebop and Smulyan is fluent in the language. Some tracks are performed with sax, bass and drums only and though this is not stylistically coming from the same place as, say, the Sonny Rollins or Ornette Coleman trios, without a chordal instrument the sonic results are similar an increased focus on the tone of the saxophone and a highlighted awareness of the melodic/rhythmic counterpoint between the instruments. Smulyan's sound is rich with a broad spectrum of sonic colors, from low register pops and grunts, a lyrically singing mid-register and accurate, usually squeak-free altissimo. Tadd Dameron's "Stop" is a trio performance that starts with a kind of rumba groove but then settles into a medium swing progression. Here one can hear how awesome bebop chops can peacefully co-exist with an easy swinging rhythm. Following the leader's solo on "Stop" is like looking at an MC Escher drawing ascending and descending at the same time, an impossibility, yet there it is for all to see/hear, perfectly formed. 

Gigi Gryce's "Sans Souci" has a Latin tinge throughout; with only bass and baritone to spell out the interwoven harmonies, Smulyan and bassist Dennis Irwin prove once again that they speak the language of bebop with ease and enthusiasm. Horace Silver's "Quicksilver" features drummer Steve Johns, whose playing is uniquely exciting and accurate. Pianist Mike LeDonne plays an amazing solo here, as well as on "Wham & They're Off" and "Chick's Tune." LeDonne proves to be a great sparring partner for Smulyan, yet his gentle accompaniment on "Beautiful You" allows all the nuance of Smulyan's tone to shine through. "Suburban Eyes," Ike Quebec's line based on Bronislaw Kaper's "All God's Chillun Got Rhythm" (here incorrectly attributed to Monk, though it's probably best known from the pianist's Genius of Modern Music, Volume 1), also receives a genuine and enthusiastic performance, perhaps one of Smulyan's most excited (and exciting) solos. This is one of the best CDs contemporary Mainstream has offered recently. ~ Francis Lo Kee   http://www.allaboutjazz.com/more-treasures-gary-smulyan-reservoir-music-review-by-francis-lo-kee.php#.U2wKqyiwVOk

Personnel: Gary Smulyan: baritone saxophone; Mike LeDonne: piano (1, 3, 4, 6, 8); Dennis Irwin: bass; Steve Johns: drums.

More Treasures

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Gordon Webster - Happy When I'm With You

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 50:18
Size: 117,7 MB
Art: Front

(5:10)  1. Sometimes I'm Happy
(3:57)  2. Long Gone John
(4:04)  3. Summertime
(2:39)  4. Twenty Four Robbers
(3:40)  5. Sermonette
(4:47)  6. I'm Confessin' That I Love You
(3:46)  7. Sweet Lorraine
(5:44)  8. Uptown Sop
(4:18)  9. September In The Rain
(4:07) 10. All Of Me
(3:20) 11. Bill Bailey
(4:41) 12. All Right, Okay, You Win

For those of you who aren’t NYC regulars or who haven’t heard Gordon Webster since Blues Till Dawn (or his Philly Lindy Love marathon late nights), his second CD release "Happy When I’m With You" is going to knock your socks off. For those of you who are, it's the Gordon "and Friends" you know and love captured live in your very own CD player!  Sure Gordon’s still grooving the piano like the dickens on numbers like “Uptown Sop” and his supporting musicians, like Rob Adkins on bass and Adrian Cunningham on sax and clarinet, are first rate and swinging equally hard. Also, Brianna Thomas is here on vocals, capturing much of the playful energy she packs into live performances on numbers like “All Right, Okay, You Win”, “All of Me”, and particularly “Summertime”, where her vocals and Gordon’s piano work dance together nicely (also listen as Jesse turns in some great muted trumpet work on that track). “September in the Rain”, “Sweet Lorraine”, and “Sometimes I’m happy” are also solid tracks with Brianna on vocals and which have a comfortable, laid back feel. However, for me, the best work on the album are Gordon’s collaborations with trumpeter/vocalist Jesse Selengut. 

These 4 numbers brings out a whole new range of piano that those who aren’t familiar with Gordon’s recent work, won’t be aware of. The energetic version of “24 Robbers” packed the dance floor in Richmond with energy last weekend and “Long John” (now available free for a limited time at the link below) and “Bill Bailey” are equally packed with wonderful hard swinging performances by his all star side men. I particularly enjoyed the interplay of Jesse on vocals and Matt on trombone in “I'm Confessin That I Love You”. There’s truly not a weak cut on this release, which, given the wide range of material, is a testament to Gordon’s abilities as a top notch band leader, above and beyond his great piano work. "Happy When I’m With You" is an appropriate title for this release because it’ll leave you tapping your foot and feeling just that way yourself. ~ Bill Speidel   http://www.gordonwebsterswings.com/home.html

Happy When I'm With You

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Juliet Annerino - Crushed Velvet

Size: 111,3 MB
Time: 47:52
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. Close Your Eyes (4:08)
02. Easy (3:05)
03. The Stranger (4:52)
04. Live Dangerously (2:28)
05. I Hurt Myself (3:55)
06. You'll Be Sorry (2:32)
07. My Sin (4:52)
08. Let's Run Away Together (2:10)
09. Time In San Francisco (3:52)
10. Intoxicated (3:50)
11. One Brave Soul (4:31)
12. Crush (3:04)
13. Amnesia (4:28)

Previously unreleased, original analog-recorded, in San Francisco, this collection of Juliet's songs have a "Classic Jazz" sound, honoring composers of the Great American Song Book. George Gershwin, Rogers & Hammerstein, Cole Porter... yet with post-modern lyrics and the occasional, exotic Euro-flare.

"Juliet Annerino is the Complete Package: singer, performer, composer, recording artist and producer. Her vocalizing and songwriting touch on multiple music genres without necessarily landing on any one, and she makes it all work." ~Chuck Bolger "JAZZ...Or Something Like It" 91.7 FM WMUH Allentown, PA

Crushed Velvet

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Mike Fageros - Booker Ervin Tribute (Jazz Organ Trio)

Size: 100,3 MB
Time: 43:24
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: Hammond Organ, Bebop
Art: Front

01. Just Friends (6:14)
02. Den Tex (6:14)
03. Stella By Starlight (5:02)
04. Take Five (Alt Take) (4:26)
05. Nicas Dream (9:49)
06. Midnite Tippin' (6:40)
07. Voyage (4:57)

When guitarist Mike Fageros hooked up with Hammond Organist Booker Patterson and Drummer Marion Booker (previously on Cookbook w/George Benson), the musicians decided to pay "Hommage to tenor saxophonist Booker Ervin". Booker Ervin hailed from Texas as does Mike Fageros so they decided on two tracks that Booker Ervin made famous.

The first is a cut from the "Tex Book Tenor" CD by Booker Ervin entitled "Den Tex", which basically is an abbreviation for "Denton Texas" about 30 miles north of Dallas on Interstate 35 where the North Texas University is located. North Texas University has always had the reputation for being one of the best if not "the best" colleges for aspiring jazz musicians. Little wonder that Booker Ervin hailed from there before he made his trek up to "The Big Apple".

Secondarily, Guitarist Mike Fageros plays another Booker Ervin tune that was the title track of one of Booker Ervin's CD'S entitled "Just Friends". Even though Mike Fageros and Booker Ervin come from different periods of jazz, there is a deep undertone and connection between the two artists.

Regarding the first cut, "Den Tex", the trumpeter that Ervin chose for his session was none other than Woody Shaw. You can hear some of the nuances of Ervin and Shaw in Mike Fageros' solo, weaving in and out during the descending chromatic dominant thirtheent chords. As well, you can hear the post modern bop influences of Ervin and Shaw in Hammond Organist Booker Patterson's playing and the steady bop feel from drummer Marion Booker. Marion had as well performed with Hammond Organists Lonnie Smith on the "Think" CD (Blue Note) and with Jimmy McGriff on "Groove Grease".

The CD is rounded out in the same tradition as Ervin did with some solid "Standards" in the form of an up tempo version of "Stella" including an "Ervinesque" version of Brubeck's "Take Five" with some excellent "going out" as Booker Ervin would have. Bonus tracks of Kenny Baron's "Voyage" and Horace Silver's "Nica's Dream" along with Tipper Mike Fageros title track "Midnite Tippin" from the Midnite Tippin CD are also included in this exciting CD.

Booker Ervin Tribute

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Gavin Minter - A Beautiful Friendship

Size: 108,0 MB
Time: 46:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. A Beautiful Friendship (2:37)
02. The Very Thought Of You (6:47)
03. S Wonderful (3:07)
04. What A Little Moonlight Can Do (2:51)
05. I'm Old Fashioned (5:42)
06. Almost Like Being In Love (2:37)
07. We'll Be Together Again (5:15)
08. Just In Time (3:20)
09. The Lady Is A Tramp (2:50)
10. That's All (4:43)
11. Somewhere Over The Rainbow (6:40)

Gavin Minter has just recorded his 7th album at the famous Atlantis Studios. This new album of standards was recorded in Stockholm after a two week sell-out tour of Sweden.

It features Andrew Lilley on piano and Kevin Gibson on drums from South Africa as well as Martin Sostjedt on double bass, Karl Olandersson on trumpet and flugelhorn, Amanda Sedgwick on alto and flute and Fredrik Linborg on tenor and clarinet from Sweden.

It is a standards album with beautiful arrangements by Goran Strandberg, his arranging partner from this SAMA nominated album "I'll Be Seeing You" featuring the Stockholm Jazz Orchestra.

The album includes tunes like "Somewhere Over The Rainbow", "Just In Time", "S'Wonderful", "We'll Be Together Again", "Lady Is A Tramp", "Beautiful Friendship" and a few more classics.

A Beautiful Friendship

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Marie-Paule Franke & Her Dreamband - Tales From A Lonely Room

Size: 105,9 MB
Time: 45:36
File: MP3 @ 320K/s
Released: 2014
Styles: Smooth Jazz, Jazz Vocals
Art: Front

01. Bleu La Reunion (5:40)
02. Used To Play (3:57)
03. Picking A Flower (5:01)
04. Tango Of A Lonely Room (3:25)
05. La Confession (4:23)
06. Travel Got My Mind (5:00)
07. Ein Brief (4:18)
08. La Passion (4:12)
09. Give This Love A Chance (6:02)
10. Does It Matter (3:33)

Marie-Paule Franke (vocalist/composer) comes from a musical family. Her father was a Jewish/German cellist and played freelance in the Berlin Philharmonic Orchestra. Therefore, from an early age she was immersed in classical music and learned to play the piano. As a young-adult, she began to sing and soon -in a roundabout way through pop, rock, funk and chanson- Jazz became her favorite genre. In the Eighties and Nineties she took singing lessons with David Linx at the Royal Conservatory of Ghent, Belgium, and took master classes with Judy Niemack. She took jazz-orchestration and -arrangement with Freddie Sunder, when jazz for vocalists first appeared on the syllabus. She sang in several bands and also appeared on a one-time recording with the BRT big band from Brussels, conducted by Freddy Sunder, just before it disbanded. She is not only a versatile vocalist but has also written her own compositions and lyrics for several years. Over the years she has developed a very personal style.
The meeting between classical music, rock, pop and influences of jazz icons, such as Billie Holiday, Abbey Lincoln and Joni Mitchell, made a great impression on her. These influences can be found in her work.
'Marie-Paule Franke and her Dreamband' was created in 2010 from the desire to develop her own music and to be accompanied by musicians who share the same inspirations. The collaboration with Erik Vermeulen and Jouni Isoherranen led to the release of the album ' Tales from a Lonely Room '(March 2014), and crowns her work and experience to date.

Erik Vermeulen is one of the most refined pianists in Belgium. Perhaps the antithesis of the great virtuoso pianists, his piano playing excels in both inspiration and sound. He understands the art of combining the varying styles of artists such as Thelonious Monk and Eric Satie, and has become a well-known yet distinctive member of the Belgian jazz landscape. Over the years he has played alongside a great many Belgian and international musicians such as Jacques Pelzer, Steve Houben, Phil Abraham, Richard Rousselet, Philip Catherine, Joe Lovano, Steve Grossman, Clark Terry, Art Farmer, Teddy Edwards to Toots Thielemans. Vermeulen is primarily dedicated to creating his own music, and compositions by his hand are interspersed with improvisations of different allure. He also plays a selection from the standard repertoire. The trio seems to be his preferred formula: intimate enough and still with lots of possibilities. He has featured in several lineups: Hein Van de Geyn and Dré Pallemaerts, Jean-Louis Rassinfosse and Félix Simtaine, Philippe Aerts and Dré Pallemaerts, Otti Van der Werf and Erik Thielemans, Sal La Rocca and Jan de Haas, Marek Patrman and Eric Surmenian or Manolo Cabras and Marek Patrman.

Jouni Isoherranen is a very talented young Finnish bass guitar player and a musical Jack-of-all-trades who enjoys very different styles varying from pop, rock, world and ethnic music, to jazz and free improvisation. He nowhere turns his hand for. He has played and performed together with Gabriel Rios (Banda the Ganda, Bologna), Andy Davis trio, Luiz Marquez and currently also with the Guinean Kora player Djeli Moussa Condé. Paris is his base town from where he explores all corners of the World.
The song ' Travel got my mind ' was inspired by him.

Tales From A Lonely Room

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Spike Robinson With Elaine Delmar - In Town

Bitrate: 320K/s
Time: 56:27
Size: 129.3 MB
Styles: Saxophone jazz, Jazz vocals
Year: 1986/2004
Art: Front

[5:55] 1. Too Close For Comfort
[8:00] 2. You've Changed
[4:00] 3. Just One Of Those Things
[3:51] 4. In A Sentimental Mood
[3:01] 5. 's Wonderful
[5:29] 6. Get Out Of Town
[9:00] 7. Little Girl Blue
[5:27] 8. Everything I Love
[5:02] 9. Young And Foolish
[6:37] 10. Will You Still Be Mine

Spike Robinson, though U.S. born, has made the British Isles his home and does most of his recording there. In Town is one of several records he has made for the Scottish company, Hep. Computer engineer +cum+ tenor sax man, Robinson displays agility and virtuosity with his alto-like tenor sax, as he runs through this album of well-known standards with facility and ease. He's joined on four of the cuts by vocalist Elaine Delmar. She and pianist Brian Lemon together weave a very enjoyable version of Duke Ellington's "In a Sentimental Mood." Robinson has inherited the style and mannerisms of the great romantic tenors, like Zoot Sims and Stan Getz. You also hear the later day Ben Webster breathy whispering on "You've Changed." But Robinson has assimilated these influences into a style which is uniquely his. Listen to him explore all the nuances and emotions of the melancholy ballad "Little Girl Blue" and swing intelligently on "Everything I Love." "Little Girl Blue" also is a forum for a lengthy solo by Brain Lemon's understated piano. In Town is an album of well-known melodies as interpreted by a contemporary master of the tenor sax. ~Dave Nathan

In Town

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Luiz Bonfa - The Brazilian Scene

Bitrate: 320K/s
Time: 31:38
Size: 72.4 MB
Styles: Brazilian jazz
Year: 1965/2008
Art: Front

[1:54] 1. Avocado
[2:38] 2. Moonlight In Rio
[3:27] 3. Malaguena Salerosa
[3:08] 4. Zomba
[2:24] 5. Yesterday
[2:19] 6. That Old Black Magic
[2:08] 7. I Can't Give You Anything But Love
[3:22] 8. Embolada
[2:03] 9. Bye Bye Blues
[3:12] 10. Her Face
[2:10] 11. Sambalero
[2:46] 12. Dream Girl

There is something truly majestic in the guitar playing and composing of Luiz Bonfá. From solo dates such as 1959's Solo in Rio (issued stateside by Smithsonian Folkways) to his 1972 masterpiece, Introspection, his sound is as telltale as the two other Brazilian guitar greats, Baden Powell and Djalma de Andrade (aka Bola Sete). Bonfá's elegance in style is what sets him apart from even these great masters. There is something utterly unhurried and gentle about his manner of playing, even during its most intense moments or in the most decorative settings (there were a lot of those during the bossa craze). The Brazilian Scene, released in 1965 on the Philips imprint, sits right on the knife edge between something as wonderfully organic as his solo recordings and the more stylized Anglo projects that were flooding the bins at the time. This date was produced by Hal Mooney, who also served as co-arranger along with Bonfá. The Brazilian Scene set features 12 tunes, seven of which are Bonfá originals, and one an arrangement of a traditional song ("Malaguena Salerosa"). The rest are pop standards and some that would be (the Beatles' "Yesterday"). The studio group includes Bonfá's New York studio band, featuring the great drummer Hélcio Milito, bassist Donald Payne, and flutist Jerome Richardson, with strings and a chamber orchestra that were dubbed in later. Bonfá's group was recorded absolutely live from the floor; his guitar playing, full of gorgeous dual pizzicatos, popping bass notes, and extended chord voicings, was captured as it is with no overdubs. This may not seem unusual until you hear it. More often than not it does feel as if a minimum of two guitarists are playing -- check the fluid, kinetic dual pizzicatos and single notes in the traditional tune, where his bass notes ground a flitting attack of two- and then one-string leads amid his basslines, which also feel twinned. Other standouts include the dark edges of "Zomba," with its foreboding horns and dramatic strings. Bonfá moves through them with his minor-key melody playing out in old Brazilian folk dance style, where chords are folded amid twinned lead lines and a hypnotic bassline -- accented on the codas by Milito. It does have the feeling of gentle exotica because of the orchestrations, but Bonfá's playing removes the flowery edges in the tune. Of the pop standards, his reading of "That Old Black Magic" transforms the tune into a top-flight samba, with ticking triple-time percussion by Milito. The band performs this one without accompaniment from the orchestra, and it is among the set's highlights. As far as mid-'60s bossa goes, this one falls to the Yankee side of that a bit, but this is no easy listening date, either. This is colorful and polished Brazilian jazz performed by a crack group with tasteful -- if sometimes overly busy -- arrangements. ~Thom Jurek

The Brazilian Scene

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Glennis Houston - Lies Of Handsome Men

Bitrate: 320K/s
Time: 56:12
Size: 128.7 MB
Styles: Vocal jazz
Year: 2004
Art: Front

[3:58] 1. Bye Bye Blackbird
[3:33] 2. Just Squeeze Me
[4:38] 3. I Want A Sunday Kind Of Love
[4:45] 4. Summertime
[4:04] 5. God Bless The Child
[3:00] 6. The Story's Over
[3:43] 7. You'd Be So Nice To Come Home To
[3:17] 8. I Love A Piano
[4:43] 9. Cow Cow Boogie
[5:16] 10. Lies Of Handsome Men
[5:50] 11. Twisted
[4:44] 12. Someone Like You
[4:35] 13. Tea For Two

Calgary Jazz singer Glennis Houston grew up listening to jazz and swing as her parents taught ballroom dancing, so she spent many nights listening to the laughter and music emanating from the basement dancing studio. She was always involved in music, in fact, with piano lessons in her childhood and teens, and then studying classical voice culminating with a Masters of Music from the University of Colorado, Boulder. She eventually realized, though, that after throwing her heart and soul into studying classical, her passion lay elsewhere. Thus, her move into jazz, with one of her first forays being the forming of an a cappella women's quartet concentrating on the jazz and swing genres. That group has since disbanded as she pursues work as a jazz vocalist. Glennis has studied with Calgary's Viviane Cardinal and Cheryl Fisher, and has attended the Vocal Jazz camp at the Banff Centre of Fine Arts, where she studied with Jay Clayton and Sheila Jordan. There, she also had the pleasure of working with musicians Randy Halberstadt, Dave Restivo, Mike Lent, and Owen Howard.

Glennis also has a deep love of theatre so upon her move back to Calgary from Colorado in 1995, became involved with Morpheus Theatre as music director for Gilbert & Sullivan shows "The Mikado" and "Pirates of Penzance," Front Row Centre with "Fiddler on the Roof," and Storybook Theatre with their production of "Snoopy." Never one to stay behind the scenes, though, she also pursued theatre work on stage with roles in Storybook's "Charlotte's Web," Gas & Light's "See How They Run" and "Holiday Snap," as well as with Chimaera Productions "Steel Magnolias." She continues to be cast in Pegasus Performances murder mystery/dinner theatre productions throughout Alberta.

Lies Of Handsome Men

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Ellyn Rucker - Ellyn

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 43:51
Size: 101,1 MB
Art: Front

(7:39)  1. In Your Own Sweet Way
(3:19)  2. One Morning In May
(6:12)  3. Close Enough For Love
(5:19)  4. Nadines's Waltz
(3:29)  5. Blues For Big Scotia
(6:30)  6. 'Round Midnight
(4:05)  7. The Night Has 1000 Eyes
(7:16)  8. Solo Medley:  Prisoner of Love/   Body & Soul /  Wonder Why

A talented bop-based pianist and a highly appealing and sensuous singer, Ellyn Rucker has long been a fixture in the Denver area. Although she started playing piano when she was eight, discovered jazz at 13, and studied classical piano at Drake University, she did not decide to become a full-time musician until 1979. Rucker has toured Europe several times (with and without Spike Robinson), recorded several albums for Capri, has a full-length video on Leisure Jazz, and performed at many festivals. Perhaps if Ellyn Rucker had taken up music full-time 20 years earlier or lived in a larger area than Denver she would be a bigger name. However, her talent has long been in the major leagues and her recordings are all quite appealing and powerful. ~ Bio  Scott Yanow  http://www.allmusic.com/artist/ellyn-rucker-mn0000175223/biography

Personnel:  Bass – John Clayton ; Drums – Jeff Hamilton;  Piano – Ellyn Rucker;  Tenor Saxophone – Pete Christlieb;  Vocals – Ellyn Rucker

Ellyn

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Donna Deussen & The Paul Weitz Trio - On The Street Where You Live

Styles: Vocal And Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 39:03
Size: 89,5 MB
Art: Front

(4:24)  1. California Dreamin'
(3:40)  2. Do Wrong Shoes
(3:10)  3. On the Street Where You Live
(4:17)  4. Both Sides Now
(4:49)  5. Black Coffee   A Night in Tunisia
(3:06)  6. Fly Me to the Moon
(3:25)  7. The Very Thought of You
(3:03)  8. Sister Sadie
(5:25)  9. If I Only Had a Brain
(3:40) 10. Waltz for Debby

Over the past 2 years, recording artists Donna Deussen (vocals)  and Paul Weitz (guitar) have been developing unique arrangements  for both duo and full band settings. The result of their efforts  is their new co-produced CD, “On The Street Where You Live.” The  CD features Matt VanBenschoten on bass, Gus Duffy on drums,  Wayne Wayne on sax, and Geoff Nudell on clarinet and flute. Join  all six musicians for their CD Release Party on Saturday, May 3rd  at Upstairs At Vitello’s.

Donna Deussen’s singing has been praised by John Gilbert of EJazzNews: “her phrasing is impeccable, her tone is clear, and is a joy to the ear of the discerning listener.” A magna cum laude graduate of Berklee College of Music, Donna has performed in venues all over California and Arizona, and also works as a session singer and vocal coach. Her debut CD, “High Wire” featured saxophonist Eric Marienthal.

Paul Weitz has been a professional musician for over 30 years, and studied guitar under Ted Greene and Sid Jacobs. Scott Yanow of L.A. Jazz Scene says, “Paul Weitz is a superior bop-based guitarist with a concept of his own.” Paul performs throughout the Los Angeles area, and his debut CD “The Paul Weitz Trio” garnered favorable reviews and air play on jazz radio stations including KKJZ in Los Angeles.

Musicians: Donna Deussen – Vocals;  Paul Weitz – Guitars; Matt VanBenschoten – Bass; Gus Duffy – Drums; Wayne Wayne – Sax; Geoff Nudell – Clarinet and Flute

On The Street Where You Live

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Gordon Webster - Blues Till Dawn

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 62:16
Size: 143,0 MB
Art: Front

(5:21)  1. Don't Go To Strangers
(5:44)  2. The Very Thought Of You
(4:53)  3. Mo' Better Blues
(5:43)  4. Gee Baby Ain't I Good To You
(5:52)  5. Georgia On My Mind
(5:31)  6. When Did You Leave Heaven?
(5:39)  7. Things Ain't What They Used To Be
(5:53)  8. What The World Needs Now
(7:08)  9. Makin' Whoopie
(6:23) 10. Just Squeeze Me
(4:03) 11. Girl From Ipanema

It's well after midnight and you want to slow things down. Create the perfect mood with this collection of soulful piano playing, singing and trombone playing. Featuring special guests: amazing singer Brianna Thomas, and trombonist extraordinaire Roland Barber. Whether you're dancing or just listening, this album is guaranteed to put you in a perfect late night groove. Pianist Gordon Webster is one of the most sought after musicians in the lindy hop world. His tremendous musicianship and passion, supported by his first-hand knowledge of social dancing, have inspired lindy hoppers at hundreds of dance events worldwide. Drawing on influences as diverse as Fats Waller, Count Basie, Oscar Peterson and Gene Harris, Webster serves up a smorgasbord of styles unified by one characteristic: irresistible danceability. Blues Till Dawn is a collection of slow, bluesy jazz tracks influenced by the sultry atmosphere of a late night dancing event in the lindy hop/blues scene.
Here's what dancers are saying about Gordon Webster:

"...an extremely rare combination of eloquence, passion, and accessibility - like a shot of something pure that goes straight to the head and heart." ~ Elizabeth Miller, dance instructor, event promoter
Boston, MA

"Gordon plays every note like it's the last note he's going to play in his entire life."~ Steven Mitchell, worldwide lindy hop instructor

"Gord's very well musically educated, and it's evident. However, it's HOW he plays that makes the biggest impact - his soul wells up in his hands and either flows or explodes out through his fingers and into the keys. He's incredibly moving. Incredibly."~ Michelle Long, dancer Rochester, NY   http://www.cdbaby.com/cd/gordonwebster

Blues Till Dawn

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Warren Wolf - Incredible Jazz Vibes

Styles: Vibraphone Jazz
Year: 2005
File: MP3@320K/s
Time: 54:03
Size: 124,2 MB
Art: Front

(4:54)  1. I Hear a Rhapsody
(5:30)  2. Overjoyed
(6:23)  3. I Want More
(7:04)  4. Masquerade Is Over
(4:25)  5. Four on Six
(5:00)  6. Why Is There a Dolphin on Green Street
(2:42)  7. Reflections
(6:46)  8. Howling Wolf
(5:55)  9. Lake Nerraw Flow
(5:18) 10. Chan's Song

Throughout its history, jazz has been revitalized with a continual evolution of style, fresh transformations in expression, bold leaps into the free improvisational sphere of the unknown and most importantly the arrival of young artists who, while steeped in the past, have an eye to the future of the idiom. Jazz aficionados welcome the dawning of the next generations of talented musicians who boldly stride into progressive territory. Among the most important young jazz stars in that vein is vibraphonist Warren Wolf, who delivers his remarkable sophomore album, Wolfgang, on Mack Avenue Records. Wolf, a multi-instrumentalist who has also honed his chops on drums and piano since age three, is also following in the footsteps of vibes masters Bobby Hutcherson and Stefon Harris by becoming a member of the SFJazz Collective (both of whom precede him in the vibes chair). Wolfgang, set for an August 20 release, features two different three-man rhythm sections pianist Benny Green, bassist Christian McBride and drummer Lewis Nash; and pianist Aaron Goldberg, bassist Kris Funn and drummer Billy Williams, Jr.), as well as two noteworthy duo pieces with pianist/label-mate Aaron Diehl. Wolf and Diehl are both building their careers as young (each under age 35) musicians keeping the jazz tradition alive. Comprising nine tunes (six of which are originals), Wolfgang spotlights Wolf taking a different, more laid-back take than his volcanic eponymous debut album on Mack Avenue. 

“The last record was a means of introducing myself as a leader,” says the 33-year-old Baltimore-based vibraphonist. “This time I set out to showcase my writing skills with compositions that have melodies people can remember.” On his first album, which was produced by mentor/label-mate McBride (who Wolf has been performing with since 2007 after the pair met at Jazz Aspen seven years before that), Wolf placed himself in the context of a quintet and sextet (with saxophonist Tim Green and, on two tracks, trumpeter Jeremy Pelt). This time out he largely focuses on the quartet setting. “I wanted to display the beauty of the vibes,” he says. “In a quintet, you’re limited. With a quartet, you can hear me more. A lot of times the vibes is played in support of others. I’m showing here that I can hold the ball by myself.” Wolfgang sets out to showcase Wolf’s classical and blues influences, as well as his compositions.

Wolfgang opens with the vibraphonist leading his own home-base band (Fun and Williams with Goldberg sitting in as a guest) into “Sunrise,” with Goldberg and Williams making predawn statements, then develops into the relaxed aurora with Wolf joining the group. The piece develops into a swinging gem with lyrical vibes lines. With the same band, Wolf speeds into the hard-burning swinger “Grand Central,” which takes a frenetic pace with mad dashes of movement: a wild chase, a crushing push. “Actually, this originally had another title which we decided not to use,” says Wolf. “But I was performing it at Dizzy’s Club at Jazz at Lincoln Center, and a guy came up after and said that reminded him of being at Grand Central Station at rush hour. So, that’s the perfect title.” The foursome also jumps into the upbeat “Lake Nerraw Flow” which features Wolf taking a rippling solo. It’s a song he wrote as a senior at Berklee College of Music in 2001. “I don’t write like that anymore, but I knew this would be great for all of us to stretch out,” Wolf says. And the title? “That’s my name spelled backwards.” As for the fourth tune of the band, “Setembro,” written by Ivan Lins/Gilson Peranzzetta, Wolf invites singer Darryl Tookes to harmonize with smooth wordless vocals. “It goes back to my goal for this album: record melodies that people actually enjoy,” says Wolf. Wolf and Diehl have become good friends because of their deep appreciation for both jazz and classical music.

 “When I first composed the song ‘Wolfgang,’ I had a jazz band choir in mind as well as a whole other section that I cut out.” In the tune, Diehl and Wolf marvelously converse on their instruments, in dialogues and in counterpoint. The other duo number comes at the end of the disc when the pair gleefully dives into “Le Carnaval de Venise,” a waltz composed by Jean-Baptiste Arban. “I first heard this music in high school [Baltimore School of the Arts] where a trumpeter took the lead,” Wolf says. “Fast-forward to seeing a clip on YouTube of Wynton [Marsalis] playing this with a symphony orchestra. I bought the recording and was blown away.” The piece is delivered as a percussive waltz with Diehl and Wolf flowing together like gentle waves. With the rhythm section of Green/McBride/Nash, Wolf launches into three tunes including a bluesy and hip take on the traditional song, “Frankie and Johnny,” which his father had turned him on to when he was a teenager. “I listened to a live version that Ray Brown did with Milt Jackson and Stanley Turrentine and others, and I loved the pulse of the bass,” Wolf says. “You can hear Christian yelling in this take, which is a tribute to Ray Brown.” The group also serves up “Annoyance,” with McBride bowing in the opening and Wolf taking the lyrical duties (“If you hear something like a mistake in this, it’s supposed to be there,” says Wolf, who likes to hear dissonance within the beauty) and the blues-oriented “Things Were Done Yesterday,” where Green flies on the keys. “I’ve always been a big-time fan of Benny,” Wolf says. “To hear the way he plays through changes is amazing. He tears it up here.” A smart, fun, blues-to-swing-to-classical collection of indelible melodies, Wolfgang ups the ante in Wolf’s young career. Even though he’s still developing his voice and his vision (he says he has several new projects he’s thinking of), he has been given high praise, including from Blue Note Records’ Chairman Emeritus, Bruce Lundvall. When asked about whom Lundvall is impressed with on the scene today, the legendary label chief immediately responded: Warren Wolf. "Warren is very different,” he said. “He has a sense of swing and a percussive style. He has great dynamics, excellent compositions and is very exciting." He called Wolf's deal with Mack Avenue to be a very important signing. ~ Bio   http://www.amazon.com/Warren-Wolf/e/B001LIDAPC/ref=ac_dtp_sa_bio

Personnel: Warren Wolf (vibraphone).

Incredible Jazz Vibes

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Ed Reed - Ed Reed Sings Love Stories / I'm A Shy Guy

Album: Ed Reed Sings Love Stories
Size: 144,1 MB
Time: 62:48
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz Vocals
Art: Front

01. A Sleepin' Bee (6:40)
02. There's A Lull In My Life (4:40)
03. Ghost Of A Chance (6:21)
04. Bye Bye Blackbird (6:31)
05. A Flower Is A Lovesome Thing (5:37)
06. Where Do You Start (3:32)
07. Daydream (6:28)
08. Ask Me Now (7:25)
09. If The Moon Turns Green (5:41)
10. Goodbye (7:08)
11. Sometimes I Feel Like A Motherless Child (2:41)

Like many artists of his generation, singer Ed Reed saw his career interrupted by drug use and incarceration. JazzTimes magazine recently ran a piece on the Narcotic Farm, a prison for addicts in Lexington, Ky., known for the jazz players who performed behind bars. San Quentin, where Reed did his time, also hosted some notorious jazz players, including , Frank Butler and . On this Piano Jazz program, Reed describes playing with these and other great players in the prison band.

Reed has emerged from addiction and prison a happy and thankful man. When he sings "Lucky to Be Me," he means it. He says he's been sober since 1986 and continues to work his "day job" as an addiction counselor, though his time is more limited these days given the success of his recent jazz releases. Reed made his professional debut at age 78, with the debut of his critically acclaimed album Love Stories.

"Ed Reed Sings Love Stories" (2007), Ed's critically acclaimed debut album, was recorded February 2006 at Bay Records in Berkeley, CA. Produced by Bud Spangler, the CD features Peck Allmond, trumpet, tenor saxm flutes, clarinets, trombonium, kalimbas; Gary Fisher, piano; John Wiitala, bass;, and Eddie Marshall, drums and recorder.

Ed Reed Sings Love Stories

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Album: I'm A Shy Guy: A Tribute To The King Cole Trio & Their Music
Size: 112,5 MB
Time: 48:56
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. I Just Can't See For Lookin' (Feat. Randy Porter, Jamie Fox & John Wiitala) (2:36)
02. Baby Baby All The Time (Feat. Randy Porter, Anton Schwartz, John Wiitala & Akira Tana) (3:01)
03. Unforgettable (Feat. John Wiitala, Akira Tana, Jamie Fox, Randy Porter & Anton Schwartz) (3:39)
04. Is You Is Or Is You Ain't My Baby (Feat. Randy Porter, Jamie Fox, Anton Schwartz & John Wiitala) (2:46)
05. I'm A Shy Guy (Feat. Randy Porter, Jamie Fox, John Wiitala & Akira Tana) (3:28)
06. That's The Beginning Of The End (Feat. Randy Porter) (4:43)
07. Meet Me At No Special Place (And I'll Be There At No Particular Time) (Feat. Anton Schwartz, John Wiitala, Akira Tana, Randy Porter & Jamie Fox) (3:45)
08. I'm Lost (Feat. John Wiitala) (4:04)
09. 'tis Autumn (Feat. Randy Porter, Jamie Fox, John Wiitala & Akira Tana) (3:25)
10. It's Only A Paper Moon (Feat. Randy Porter, Anton Schwartz, Jamie Fox, John Wiitala & Akira Tana) (3:12)
11. That Ain't Right (Feat. Randy Porter, Anton Schwartz, John Wiitala & Akira Tana) (4:46)
12. I Realize Now (Feat. Randy Porter, John Wiitala & Akira Tana) (2:53)
13. This Will Make You Laugh (Feat. Jamie Fox) (3:39)
14. Straighten Up And Fly Right (Feat. Randy Porter, Jamie Fox, Anton Schwartz & John Wiitala) (2:54)

San Francisco vocalist Ed Reed is a bona fide contemporary of West Coast jazz luminaries: Art Pepper, Frank Morgan, Dexter Gordon, Wardell Gray and Hampton Hawes. Unlike that august group, Reed remains to tell his story, and by proxy, theirs' in the bargain. Like this same group, drugs (and in the case of Gray, murder) suspended Reed's musical career. Unlike Pepper and Morgan, who staged much heralded late-career comebacks, Reed did not first record until 2007 at age 78. Neither "late bloomer" nor "rising star" adequately describe Reed any more than "senior" or "elderly" do. These terms might apply to mere mortals, but Reed is something else. When he entered the studio to record his debut Ed Reed Sings Love Stories (Blue Shorts Records) he was fully-formed as a singer and performing from a lifetime of anticipating that very moment.

Since Love Stories, Reed has released The Song Is You (Blue Shorts Records, 2008), Born To Be Blue (Blue Shorts Records, 2011) and the present I'm A Shy Guy: A Tribute to the Cole Trio & Their Music. Reed's performance remains at an amazing, even otherworldly, level. Co-producer and jazz vocalist and educator in her own right, Laurie Antonioli reveals of the Cole sessions:

"On the first day of most recording projects, it takes time to get people settled, get the sound right and hopefully you'll get a few tunes out of the deal. This is not what happened with the "Nat" session. On day one, from the very first song it was all there. The sound, the band, the tempos and interaction. But most importantly Ed was in fine voice and was a real pro—like Sinatra or something. I think there are at least five first takes from that first day... My involvement, aside from some minor technical things on the vocal end, was simply to say "Let's keep going." The flow was magical and everyone could feel it... The next day the bulk of the recording was finished."

The danger with such sessions is that it all seems too easy and truly exceptional jazz singing, particularly male jazz singing, is anything but. That said, Reed stepped up and made this recording an effortless affair. Supported by a piano-guitar quintet, Reed spins through better and lesser known Cole book inclusions. Bobby Troupe's "Baby Baby All The Time" and Cole's timeless "Unforgettable" join "It's Only A Paper Moon" and "Straighten Up And Fly Right as the better known pieces. "Can't See For Lookin,'" "That's The Beginning of the End" and "Meet Me At No Special Place" represent the pithier and lesser known Cole classics that comprise this excellent collection where Ed Reed sings Cole like Ed Reed and not someone imitating Cole. It is this touch that makes I'm A Shy Guy: A Tribute to the King Cole Trio & Their Music so exceptional. ~C. Michael Bailey

Personnel: Ed Reed: vocals; Randy Porter: piano; Anton Schwartz: tenor saxophone; John Wiitala: bass; Akira Tana: drums.

I'm A Shy Guy

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