Silky Denims

Monday, May 12, 2014

VA - Beautiful: The Carole King Musical (Original Broadway Cast Recording)

Size: 126,4 MB
Time: 53:05
File: MP3 @ 320K/s
Released: 2014
Styles: Pop/Rock, Soundtrack
Art: Front

01. Beautiful Orchestra - Overture (1:11)
02. Jessie Mueller - So Far Away (1:40)
03. Beautiful Ensemble - 1650 Broadway Medley (1:58)
04. Jessie Mueller - It Might As Well Rain Until September (1:44)
05. Jessie Mueller, Jake Epstein, E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - Some Kind Of Wonderful (2:59)
06. Anika Larsen - Happy Days Are Here Again (1:03)
07. Jake Epstein & Jessie Mueller - Take Good Care Of My Baby (1:34)
08. Jessie Mueller - Will You Love Me Tomorrow (3:03)
09. Anika Larsen & Jarrod Spector - He's Sure The Boy I Love (1:15)
10. Ashley Blanchet, Alysha Deslorieux, Carly Hughes & Rashidra Scott - Will You Love Me Tomorrow (2:21)
11. E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - Up On The Roof (2:09)
12. E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - On Broadway (2:08)
13. Ashley Blanchet & Beautiful Ensemble - The Locomotion (2:08)
14. Jarrod Spector, Josh Davis, Kevin Duda & Beautiful Ensemble - You've Lost That Lovin' Feeling (3:15)
15. Rashidra Scott, Ashley Blanchet, Alysha Deslorieux, Carly Hughes & Jessie Mueller - One Fine Day (2:47)
16. Jessie Mueller & Beautiful Ensemble - Chains (1:41)
17. Anika Larsen & Jarrod Spector - Walking In The Rain (2:18)
18. Sara King, Jake Epstein & Beautiful Ensemble - Pleasant Valley Sunday (2:05)
19. Alysha Deslorieux, Douglas Lyons, E. Clayton Cornelious & Josh Davis - We Gotta Get Out Of This Place (1:57)
20. Jessie Mueller, Douglas Lyons, E. Clayton Cornelious & Josh Davis - Uptown (1:33)
21. Jessie Mueller, Douglas Lyons, E. Clayton Cornelious & Josh Davis - It's Too Late (2:43)
22. Jessie Mueller, Jarrod Spector, Anika Larsen & Jeb Brown - You've Got A Friend (2:34)
23. Jessie Mueller & Beautiful Company - (You Make Me Feel Like) A Natural Woman (2:08)
24. Jessie Mueller & Beautiful Company - Beautiful (2:39)
25. Jessie Mueller & Beautiful Company - I Feel The Earth Move (2:00)

Among the most successful and celebrated pop songwriters of the '60s and '70s, Carole King started her career pitching tunes to publishers and producers in New York's celebrated Brill Building; by 1971, she had become a successful performer who released what would become one of the biggest-selling albums of the decade, Tapestry. King's personal and professional lives reflected the shifting mores of the '60s and the changing place of women in American culture, and her music and the stories behind her songs come to the stage in Beautiful: The Carole King Musical. Dealing with King's remarkable career in music, her often tumultuous relationship with husband and collaborator Gerry Goffin, and their friendly rivalry with fellow tunesmiths Barry Mann and Cynthia Weil, Beautiful features a score assembled from classic songs of the era, including "One Fine Day," "It Might as Well Rain Until September," "Will You Love Me Tomorrow," "It's Too Late," "Chains," "I Feel the Earth Move," and many more. ~Review by Mark Deming

Beautiful: The Carole King Musical

Allan Vaché Big Four - Strike Two!

Bitrate: 320K/s
Time: 66:58
Size: 153.3 MB
Styles: Clarinet jazz, Swing
Year: 2003
Art: Front

[4:25] 1. That's A Plenty
[4:46] 2. Goin' South
[5:42] 3. Egyptian Fantasy
[3:27] 4. Minor Swing
[4:57] 5. When My Dreamboat Comes Home
[4:21] 6. Squeeze Me
[5:53] 7. Dinah
[4:11] 8. Love Me With A Feeling
[3:39] 9. Sweetie Dear
[3:57] 10. Doin' The New Lowdown
[4:58] 11. Wild Man Blues
[2:46] 12. Eccentric
[2:54] 13. There'll Come A Time
[5:37] 14. Brother, Can You Spare A Dime
[5:19] 15. Beale Street Blues

When Allan Vaché plays swing on his clarinet, the smooth sounds invite comparisons to a young Benny Goodman, which isn't surprising since the King of Swing was one of Vaché's chief influences. Vaché can be downright blistering as well as warm and inviting and his graceful playing makes even complicated pieces seem easy. Critics also compare him to jazz clarinetist Peanuts Hucko. ~ Linda Seida

Allan Vaché (clarinet); David Jones (cornet); Bob Leary (guitar); Phil Flanigan (bass).

Recorded on July 18 & 19, 1999.

Strike Two!

Lisa Nilsson with Joao Castilho & Sebastian Notini - Sambou Sambou

Bitrate: 320K/s
Time: 34:34
Size: 79.1 MB
Styles: Brazilian jazz vocals
Year: 2009
Art: Front

[3:24] 1. Wave
[3:13] 2. A House Is Not A Home
[1:55] 3. Sambou Sambou
[3:59] 4. Corcovado (Quiet Nights Of Quiet Stars)
[3:10] 5. Madalena
[2:05] 6. O Samba Da Minha Terra
[2:51] 7. Modina
[3:31] 8. Linha De Passe
[3:15] 9. Extase
[3:32] 10. Para Raio
[3:33] 11. Moon River

In May of 2005 the Polar music prize was awarded to the Brazilian artist and Minister of Culture, Gilberto Gil. In connection with this a Brazil festival was organised in Stockholm and Lisa was asked to participate with a concert at Mosebacke as well as being asked to honour Gil during the award ceremony. For this occasion three of the musicians that Lisa had worked with in Rio were flown to Sweden and together with two Swedish musicians they performed three concerts. In order to create a repertoire for a Swedish audience Lisa began to write Swedish lyrics to some of the songs that had taken her fancy in Brazil. The tour was greeted with great enthusiasm and praised in reviews. From this was born the idea of a collaboration and creation of an album.

Lisa returned to Rio six months later and made preparations for the recording. After a few months of searching for a studio, gathering song material, trying to raise financial support and writing the Swedish lyrics she started rehearsing with the Rio band. Lisa produced for the second time and built up the album out of live sessions and through a democratic process with all involved.

Sambou Sambou

Nat King Cole - Just One Of Those Things (And More)

Bitrate: 320K/s
Time: 33:30
Size: 76.7 MB
Styles: Vocal
Year: 1957/2012
Art: Front

[2:29] 1. When Your Lover Has Gone
[2:57] 2. A Cottage For Sale
[2:56] 3. Who's Sorry Now
[2:47] 4. Once In A While
[3:46] 5. These Foolish Things
[2:34] 6. Just For The Fun Of It
[3:10] 7. Don't Get Around Much Anymore
[2:23] 8. I Understand
[2:12] 9. Just One Of Those Things
[2:44] 10. The Song Is Ended (But The Melody Lingers On)
[2:45] 11. I Should Care
[2:42] 12. The Party's Over

Just One of Those Things is a theme album comparable to one of Frank Sinatra's uptempo swing albums of the same period (Come Fly With Me, etc.), and employs the same arranger/conductor, Billy May. Nat King Cole is a bit less effective than Sinatra at uptempo material; he tends to undersing these sprightly standards, and May saves his dramatic horn charts and percussion shots for moments when Cole is away from the microphone. Even so, by the fifth track, "These Foolish Things Remind Me of You," May has retreated to ballad time, and though his embellishments threaten to break out behind the singer, Cole gives an assured, unhurried performance. And that's the point: that Cole has tamed the rambunctious May does not mean he doesn't give wonderful interpretations to some wonderful songs: "Don't Get Around Much Anymore," "Just One of Those Things," "The Song Is Ended (But the Melody Lingers On)." And the light-handed swing supports those efforts well. ~William Ruhlmann

Just One Of Those Things (And More)

Yerba Buena Stompers - San Francisco Bay Blues

Bitrate: 320K/s
Time: 59:26
Size: 136.1 MB
Styles: Dixieland
Year: 2005
Art: Front

[3:15] 1. Come On And Stomp, Stomp, Stomp
[3:19] 2. Take Me To The Land Of Jazz
[3:22] 3. Dusky Stevedore
[3:42] 4. Bluin' The Blues
[3:11] 5. Doin' The Hambone
[3:34] 6. Wang Wang Blues
[5:01] 7. Trouble In Mind
[4:17] 8. When Erastus Plays His Old Kazoo
[3:13] 9. Bees Knees
[3:57] 10. Sobbin' Blues
[2:38] 11. San Francisco Bay Blues
[2:41] 12. Black And White Rag
[3:53] 13. Tom Cat Blues
[3:05] 14. Duff Campbell's Revenge
[2:55] 15. Blue Moon Of Kentucky
[3:30] 16. Yellow Dog Blues
[3:44] 17. Buddy's Habits

"The Yerba Buena Stompers certainly have that slightly disreputable and noisy approach to revivalism which was the Lu Watters trademark, and they make a rowdily compelling case for the continued relevance of this sort of jazz. I doubt if I'll hear anything more enjoyable all year." ~Floyd Levin

San Francisco Bay Blues

Michela Lombardi & Phil Woods - Sing & Play The Phil Woods Songbook Vol 2

Styles: Vocal And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 48:30
Size: 111,2 MB
Art: Front

(6:24) 1. And When Were Young/The World Is Like a Playground
(3:40) 2. Beside the Sea
(4:48) 3. Beloved Elis
(5:05) 4. Labor of Love
(3:57) 5. This Is True Love
(5:44) 6. Such a Lovely Place (Medley Randi), Such a Lovely Place (Medley Randi)
(5:46) 7. Our Love
(4:57) 8. Sittin' Here
(3:25) 9. Sunset in Urbino
(4:38) 10. Where Do We Go from Here

One of the true masters of the bop vocabulary, Phil Woods had his own sound beginning in the mid-'50s and stuck to his musical guns throughout a remarkably productive career. There was never a doubt that he was one of the top alto saxophonists in jazz, and he lost neither his enthusiasm nor his creativity through the years. Woods' first alto was left to him by an uncle, and he started playing seriously when he was 12. He gigged and studied locally until 1948, when he moved to New York. Woods studied with Lennie Tristano, at the Manhattan School of Music, and at Juilliard, where he majored in clarinet. He worked with Charlie Barnet (1954), Jimmy Raney (1955), George Wallington, the Dizzy Gillespie Orchestra, Buddy Rich (1958-1959), Quincy Jones (1959-1961), and Benny Goodman (for BG's famous 1962 tour of the Soviet Union), but mostly headed his own groups after 1955, including co-leadership of a combo with fellow altoist Gene Quill in the '50s logically known as "Phil & Quill." Woods, who married the late Charlie Parker's former wife Chan in the 1950s (and became the stepfather to singer Kim Parker), was sometimes thought of as "the new Bird" due to his brilliance in bop settings, but he never really sounded like a copy of Parker.

Woods popped up in a variety of settings in the 1960s on Benny Carter's classic Further Definitions record, touring Europe with the short-lived Thelonious Monk Nonet, and appearing on studio dates like the soundtracks to The Hustler and Blow Up. Always interested in jazz education (although he believed that there is no better way to learn jazz than to gig and travel constantly), Woods taught at an arts camp in Pennsylvania in the summers of 1964-1967. Discouraged with the jazz scene in the U.S., he moved to France in 1968. For the next few years, Woods led a very advanced group, the European Rhythm Machine, which leaned toward the avant-garde and included pianist George Gruntz. Their recordings still sound fresh and exciting today, although this venture would only be a detour in Woods' bebop life. In 1972, he returned to the U.S. and tried unsuccessfully to lead an electronic group that featured keyboardist Pete Robinson. In 1973, Woods formed a quintet with pianist Mike Melillo, bassist Steve Gilmore, drummer Bill Goodwin, and guitarist Harry Leahey that had much greater success. Their recording Live at the Showboat officially launched the band, which, after a few personnel changes, toured the world. After Leahey left in 1978, it was known as the Phil Woods Quartet until trumpeter Tom Harrell (1983-1989) joined; his spot was then assumed by trombonist Hal Crook (1989-1992) and trumpeter Brian Lynch. Pianist Melillo went out on his own in 1980, and his successors were Hal Galper (1980-1990), Jim McNeely (1990-1995), and Bill Charlap; Gilmore and Goodwin were with Woods from the group's start. Not just bebop repertory bands, Woods' ensembles developed their own repertoire, took plenty of chances, and stretched themselves while sticking to his straight-ahead path.

Woods contributed the famous alto solo to Billy Joel's hit recording of "Just the Way You Are" and was one of Michel Legrand's favorite artists, guesting with Legrand on an occasional basis; he made dozens of rewarding recordings himself through the years. After debuting as a leader in the mid-'50s, he recorded for Prestige, Savoy, RCA, Mode, Epic, Candid (the brilliant The Right of Swing in 1961), Impulse, MGM, Verve, Embryo, Testament, Muse, Omnisound, Enja, and Chesky, and recorded with his Quintet/Quartet for RCA, Gryphon, Adelphi, Clean Cuts, SeaBreeze (two sets adding Chris Swansen's inventive synthesizer to the band), Red, Antilles, Palo Alto, BlackHawk, Denon, and quite extensively for Concord. Some key sets include 1960's Rights of Swing on Candid, 1974's Musique Du Bois on 32 Jazz, 1981's Birds of a Feather from Antilles, and 2002's Americans Swinging in Paris from EMI. An Italian label, Philogy (which has some broadcasts and live performances from Woods' bands), is named after the popular and brilliant altoist. Still going strong into the 21st century, Woods cut a live session with the Los Angeles Jazz Orchestra in 2005 that was released by Jazz Media in 2006. American Songbook, which features Woods' treatment of pop and jazz standards, appeared from Kind of Blue later that same year. In 2009, after years of attempting to secure the rights to interpret the work of writer A.A. Milne, Woods released Children's Suite a tribute to Milne's classic book Winnie the Pooh. Phil Woods died from complications of emphysema in September 2015 at the age of 83. https://itunes.apple.com/eg/artist/phil-woods/id124283#fullText

Sing & Play The Phil Woods Songbook Vol 2

Hank Mobley - Music For Lovers

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 53:32

Size: 122,7 MB

Art: Front

(5:05) 1. The Good Life

(6:07) 2. Darn That Dream

(7:39) 3. I Should Care

(5:24) 4. I See Your Face Before Me

(5:37) 5. No More Goodbyes

(5:57) 6. Deep In A Dream

(6:49) 7. My Sin

(6:36) 8. Fin De L'Affaire

(4:13) 9. Alone Together

These nine ballads were recorded by Hank Mobley between 1955 and 1967. Apart from being a genuinely wonderful set of romantic tunes, Music for Lovers showcases a different side of the great hard bop tenor's playing. Mobley's approach to ballads was reverent, but it was loose, too. Mobley brought a big helping of soul to his readings of standards such as "Darn That Dream," "I Should Care," and even the ethereal "Deep in a Dream." However, as this small collection illustrates, it is in his own tunes that Mobley shines brightest. First, there's the beautiful "No More Goodbyes," recorded with Bob Cranshaw, Billy Higgins, and John Hicks from a late date in 1967. His solo touches on Ben Webster's breathy tone for a moment, and then winds out gently with blues accents in each chorus. But perhaps the finest moment here is on his "My Sin," recorded in 1965 with Freddie Hubbard (a wonderful match for Mobley on the front line), bassist Paul Chambers, Barry Harris, and Higgins once again. Here is where Mobley actually sings though his horn, as Hubbard and Harris prod him to go deeper. For the price, this is a solid little comp that achieves its objective and then some. ~ Thom Jurek http://www.allmusic.com/album/music-for-lovers-mw0000259006.

Personnel: Hank Mobley (tenor saxophone); Hank Mobley (saxophone); Pepper Adams (baritone saxophone); Lee Morgan (trumpet); John Hicks, Sonny Clark, Barry Harris , Wynton Kelly (piano); Art Blakey, Art Taylor, Billy Higgins (drums); Donald Byrd, Freddie Hubbard, Art Farmer (trumpet); Herbie Hancock, Horace Silver (piano); Philly Joe Jones (drums).

Music For Lovers

Johnny Mathis - Let It Be Me - Mathis In Nashville

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 46:14
Size: 105,8 MB
Art: Front

(4:01) 1. What a Wonderful World
(3:26) 2. Let It Be Me
(3:14) 3. Make The World Go Away
(3:24) 4. Crazy
(3:30) 5. Southern Nights
(3:26) 6. You Don't Know Me
(3:02) 7. Lovin' Arms
(4:32) 8. Shenandoah
(3:29) 9. We Must Be Lovin' Right
(3:10) 10. I Can't Stop Loving You
(3:34) 11. Love Me Tender
(2:53) 12. Please Help Me, I'm Falling
(4:28) 13. What a Wonderful World - Christmas Version

For Let It Be Me: Mathis in Nashville, Johnny assembled a handpicked group of the finest musicians in Nashville to record an album that is devoid of modern studio tricks. The tracks which include What a Wonderful World featuring Lane Brody and Let it be me featuring Alison Krauss were recorded live in the studio over the course of a week. The approach to these country standards is sympathetic to the original arrangements, the manner in which the players musically interrelate allows for a refreshing openness and transparency that supports, but never overwhelms the vocal performance. Mathis in Nashville makes the point that sometimes simplicity is the ultimate in sophistication. ~ Editorial Reviews http://www.amazon.com/Let-It-Be-Me-Nashville/dp/B003WKA85M

Personnel: John Willis (acoustic guitar, electric guitar); Bryan Sutton (acoustic guitar, banjo, mandolin); Fred Mollin (acoustic guitar, electric sitar, percussion); Brent Mason (electric guitar); Paul Franklin (pedal steel guitar); Stuart Duncan (mandolin, fiddle); Jim Hoke (harmonica); Jeff Taylor (accordion); John Jarvis (piano, Wurlitzer organ); Gary Prim (organ, Wurlitzer organ, synthesizer); Eddie Bayers (drums); Jaime Babbitt, Troy Johnson, The Johnsonaires, Lane Brody, Russell Terrell, Tania Hancheroff (background vocals).

Let It Be Me - Mathis In Nashville

Clifford Brown - Clifford Brown With Strings

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 39:55
Size: 91,9 MB
Art: Front + Back

(2:57) 1. Yesterdays
(3:24) 2. Laura
(3:23) 3. What's New
(3:12) 4. Blue Moon
(3:42) 5. Can't Help Lovin' Dat Man
(2:59) 6. Embraceable You
(3:22) 7. Willow Weep For Me
(3:30) 8. Memories Of You
(3:11) 9. Smoke Gets In Your Eyes
(3:22) 10. Portrait Of Jenny
(3:26) 11. Where Or When
(3:22) 12. Stardust

Recordings setting soloists alongside string ensembles were not a staple of the bop years, but, when trumpeter Clifford Brown recorded With Strings, he had two illustrious predecessors. In 1946, trumpeter Dizzy Gillespie recorded four Jerome Kern standards with an ensemble arranged by Johnny Richards. Kern's estate, horrified at the "desecration," blocked their release (they were finally issued in 1980 on Phoenix Records). In 1949, saxophonist Charlie Parker recorded with strings arranged by Jimmy Carroll, returning to the idea a year later, this time with arranger Joe Lipman. In 1955, Brown's string ensemble was arranged by Neal Hefti, on a session which also employed Brown's regular touring band Richie Powell (piano), George Morrow (bass), Max Roach (drums) augmented by guitarist Barry Galbraith. Brown's With Strings may not have been the first album in the field, but it is surely among the most beautiful of jazz discs ever to be made with strings or, come to that, without them. It benefits, too, from the advances in studio technology made in the 1950s, after the Gillespie and Parker recordings: the sound is deep and lush, and the six violins, two violas and a cello sound like an ensemble larger than its actual size.

Brown's sunny, lyrical style was as well suited to a strings setting as that of tenor saxophonist Stan Getz, whose Eddie Sauter-arranged masterpiece, Focus (Verve), was recorded in 1961. Unlike Getz, Brown's approach was not improvisation-focused; the 12 tracks on With Strings are all around three minutes long and Brown's solos are restricted, in the main, to theme embellishments during the second half of each performance. Hefti's gorgeous arrangements aside, the magic comes from the way Brown reads the tunes. What great tunes they are. Three composed by Jerome Kern, two by Richard Rodgers, and others by George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell and Joseph Russel Robinson. The disc closes with Hoagy Carmichael's "Stardust." Every one of the tracks is a gem, but "Stardust," by a neck, is the most lustrous, a reading to set alongside Carmichael's own privately made, intensely poignant solo piano recording of 1944. If any criticism can be leveled at With Strings, it is a small one. Had the number of tracks been limited to ten, allowing a chorus or so of full-on trumpet improvisation, with the album still coming in at the then-maximum 40 minutes' playing time, we would, perhaps, have perfection. But that is to cavil. With Strings is as close to perfection as makes no difference. A year after the album was made, Brown (along with Richie Powell) was killed in an auto crash, aged 26. ~ Chris May http://www.allaboutjazz.com/clifford-brown-with-strings-clifford-brown-by-chris-may.php#.U2u69CiwVOk

Personnel: Clifford Brown: trumpet; Richie Powell: piano; Barry Galbraith: guitar; George Morrow: bass; Max Roach: drums; uncredited string nonet arranged by Neal Hefti.

Clifford Brown With Strings

Sunday, May 11, 2014

Alex Pangman - They Say / Can't Stop Me From Dreaming

Album: They Say
Size: 143,3 MB
Time: 61:14
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz: Swing/Big Band, Early Jazz
Art: Front

01. Sing You Sinners (2:52)
02. Daddy Won't You Please Come Home (3:57)
03. They Say (3:49)
04. I'm One Hundred Percent For You (3:39)
05. Without That Man (4:44)
06. We Three (5:20)
07. Love Me Tonight (3:26)
08. Let Yourself Go (3:03)
09. I'll Never Say 'never Again' Again (3:37)
10. Here We Are (4:49)
11. No Regrets (4:04)
12. Three Little Words (4:09)
13. Moon Ray (5:39)
14. After You've Gone (4:48)
15. Can't We Talk It Over (3:12)

Tackling a long out-of-fashion genre is always tricky enough; it's even trickier when the style becomes trendy again and burns out fairly quickly. Coming so soon after the collapse of interest in bands like Squirrel Nut Zippers, vocalist Alex Pangman's decision to record an album of '20s and '30s-style swing could have been doomed, except for the fact that Pangman obviously loves the genre, and has opted for a much more traditional approach here -- no pandering to the trendies. It also doesn't hurt that Pangman hooked up with Jeff Healey, who has long harbored an interest in classic jazz, and who knew a number of players around the world who would be interested in participating. As expected, the players are top-notch (and keep an ear open for Healey playing trumpet here). The real surprise is that Pangman -- only 22 when the album was recorded -- comes through so convincingly on this debut effort. The album is all the proof you need to know that she'll be worth watching in the future. ~Review by Sean Carruthers

They Say

Album: Can't Stop Me From Dreaming
Size: 134,4 MB
Time: 57:40
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz: Swing/Big Band, Early Jazz
Art: Front

01. You Can't Stop Me From Dreaming (4:46)
02. Serenade In The Night (4:12)
03. Mama's Gone Goodbye (4:09)
04. Give Me Liberty Or Give Me Love (2:42)
05. I Had Someone Else Before I Had You (3:07)
06. Yours All Yours (3:47)
07. It's Unanimous Now (3:28)
08. Through The Courtesy Of Love (3:28)
09. After You Said You Were Leaving (3:06)
10. Prisoner Of Love (4:26)
11. One Night In Monte Carlo (4:12)
12. Melancholy Lullaby (2:50)
13. Concentratin' On You (5:11)
14. Careless (4:54)
15. It's All Your Fault (3:14)

A pleasing singer in her mid-twenties, Alex Pangman loves the music of the 1920s and '30s. For her second recording for the Canadian Sensation label, she performs 13 vintage obscurities plus a lone standard ("Prisoner of Love") and her own "Melancholy Lullaby." Although her voice is small, it is personable and she digs into the lyrics of such early gems as "Mama's Gone Goodbye," "I Had Someone Else Before I Had You," "Through the Courtesy of Love," "Concentratin' on You," and "Careless." Particularly intriguing are the four separate groups that the singer uses. Her Jazz Manouche is a quartet with trumpeter Chris Whitely, two acoustic guitars, and bass. Her Hired Hands is more in the Western swing vein with trumpeter Peter Ecklund, violinist Erin Solomon, and Whitely on steel guitar, plus two guitars, piano, and bass. Her Alleycats is a more conventional septet with three brass horns (including Jeff Healey on trumpet and guitar), while her International All Stars is a sextet with the Bix Beiderbecke-inspired trumpet of Dick Sudhalter. With the variety of instrumentation, the obscure material, and Alex Pangman's enjoyable voice, it makes for an excellent set of revivalist jazz, easily recommended for fans of trad and 1920s-style music. ~Review by Scott Yanow

Can't Stop Me From Dreaming

Edu Lobo - Edu Lobo & The Metropole Orkest

Size: 165,6 MB
Time: 71:30
File: MP3 @ 320K/s
Released: 2013
Styles: Latin Jazz, Bossa Nova, MPB
Art: Front

01. Vento Bravo (6:56)
02. Dança Do Corrupiao (3:47)
03. No Cordao Da Saideira (5:46)
04. Ave Rara (4:53)
05. Choro Bandido (5:35)
06. Frevo Diabo (4:02)
07. Casa Forte (5:32)
08. Cançao Do Amanhecer (3:59)
09. A Historia De Lily Braun (5:27)
10. A Bela E A Fera (4:19)
11. Canto Triste (5:51)
12. Ode Aos Ratos (3:32)
13. Zanzibar - Instrumental (7:42)
14. Na Carreira (4:02)

Some of the boldest, most expressive work we've heard from Edu Lobo in years – a beautiful recording with the Metropole Orchestra, who help Lobo regain all the lofty power of his early 70s years! The arrangements here are full, and full of feeling too – lead vocals by Lobo soaring over the top of his sublime compositions, pushed onward strongly with the full orchestrations of the ensemble –and given some great jazzy undercurrents by the flute and sax work of Mauro Senise! We always like Edu, but the album's a real return to the qualities that first made us fall in love with his music so many years ago – and is continuing proof that the Metropole Orchestra really know how to bring new energy to an artist. Titles include "Vento Bravo", "Canto Triste", "Casa Forte", "Zanzibar", "Ave Rara", "Choro Bandido", "A Bela E A Fera", "Frevo Diabo", and "Danca Do Corrupiao".

Edu Lobo & The Metropole Orkest

Melissa Oliveira - In My Garden

Size: 115,2 MB
Time: 49:35
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals, Bossa Nova, Contemporary Jazz
Art: Front

01. Footprints (5:51)
02. Flor Que Nao Dura (4:19)
03. Sandu (4:24)
04. Sambu (4:11)
05. Chasing Rainbows (6:16)
06. Acordar (6:06)
07. Dia Sem Luz (4:13)
08. Stepping Stones (4:25)
09. Garden Walls (4:49)
10. Nature Boy (4:57)

Half Australian, half Portuguese, Melissa Oliveira has been living in Europe for the past years (in Portugal and in the Netherlands). She had the privilege of recording her debut CD In my garden in Boston with special guests Greg Osby and Jason Palmer and is currently presenting it using an idiosyncratic line-up which also includes the Portuguese guitar, turntables and visuals. In an innovative way, especially in the world of jazz, Melissa Oliveira presents a show that, despite being multifaceted, remains faithful to the principles of this style. Consider the Portuguese guitar, which instead of being used in a strictly traditional manner, is also entitled to jazzy melodies and harmonies as a mandatory part of the arrangements made for this project. Yet, the fusion of styles and instruments doesn’t stop here. Another member of the project is JAM who uses turntables in an interactive way so that even audio-visual solos are possible thus resulting in no two shows being alike by maintaining the spirit of jazz in an unconventional format with this extra visual layer.

In My Garden

Mathilde Santing - Under Your Charms

Bitrate: 320K/s
Time: 44:14
Size: 101.3 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[3:10] 1. Under Your Charms
[3:50] 2. In The Morning
[3:36] 3. My Love Has Gone
[3:10] 4. Fall
[3:09] 5. Mess
[2:46] 6. You've Been Gone To Long
[3:49] 7. Give Me An Ocean
[3:39] 8. Blue Monday
[4:10] 9. St Judas
[3:34] 10. Change Is Gonna Come
[3:06] 11. Been A Fool
[3:34] 12. Didn't I Say
[2:36] 13. The Rules

Mathilde Santing is a Dutch pop and jazz singer born on October 24, 1958 in Amstelveen, a suburb of Amsterdam. Her first album appeared in 1982 and was simply called “Mathilde Santing”. Although most of her songs are in English, she sometimes performs in her native Dutch. Mathilde Santing’s sound is whispery and vulnerable. She is an important gay role model in the Netherlands and she sang at the opening and closing ceremonies of the 1998 Gay Games in Amsterdam.

Under Your Charms

Creedence Clearwater Revival - Creedence Covers The Classics

Bitrate: 320K/s
Time: 39:15
Size: 89.9 MB
Styles: Rock
Year: 2009
Art: Front

[2:41] 1. Good Golly Miss Molly
[3:50] 2. I Heard It Through The Grapevine - Single Version
[2:11] 3. Hello Mary Lou
[4:31] 4. Susie Q - Single Version
[4:10] 5. Midnight Special
[2:04] 6. Ooby Dooby
[3:05] 7. The Night Time Is The Right Time
[2:53] 8. Cotton Fields
[3:35] 9. Ninety-Nine And A Half
[3:24] 10. Before You Accuse Me
[2:16] 11. My Baby Left Me
[4:29] 12. I Put A Spell On You

Another in a long list of fun and inessential Creedence Clearwater Revival compilations, Creedence Covers the Classics rounds up the 12 covers CCR released on their albums over the years. Hits aren't plentiful -- only "Suzy Q" and "I Heard it Through the Grapevine," both here in single edits -- but there are plenty of great tracks here, music that showcases CCR's range. Old Sun rockabilly from Roy Orbison ("Ooby Dooby") and Elvis ("My Baby Left Me") sit alongside spooky R&B ("I Put a Spell on You"), blues ("Before You Accuse Me"), testifying soul ("The Night Time Is the Right Time"), sweet pop from Ricky Nelson ("Hello Mary Lou") and raveups from Little Richard ("Good Golly Miss Molly") and Leadbelly folk turned swamp choogle. While it might be hard to discern who this is for -- casual fans want the hits, the hardcore know this -- it's still a ripping good time, a perfect party record for any occasion. ~Stephen Thomas Erlewine

Creedence Covers The Classics

Ray Brown - Two For The Blues

Bitrate: 320K/s
Time: 34:41
Size: 79.4 MB
Styles: Soul jazz, Hard bop
Year: 1966/2014
Art: Front

[3:27] 1. Baubles, Bangles And Beads
[3:05] 2. It Happened In Monterey
[4:40] 3. Thumbstring
[3:55] 4. My One And Only Love
[3:52] 5. Tricrotism
[3:32] 6. Cannon Bilt
[4:04] 7. Two For The Blues
[5:15] 8. Work Song
[2:48] 9. Day In, Day Out

Original title: Ray Brown With the All star Big-Band.

This long out-of-print LP features an 18-piece big band arranged by Ernie Wilkins with plenty of solos from the co-leaders (altoist Cannonball Adderley and Ray Brown on bass and cello) and a few spots for tenor-saxophonist Yusef Lateef and cornetist Nat Adderley. Highpoints include Oscar Pettiford's "Tricotism," "My One and Only Love" and "Work Song." It's a rare big-band outing for Adderley. ~Scott Yanow

This album teams two of the most talented and most popular jazz musicians in modern music. Cannonball Adderley is an artist of fire and startling rhythmic excitement. He is a player who has captured the imagination bf modern jazz fans. Ray Brown is the backbone of the Oscar Peterson Trio; a bass soloist and rhythm player of indisputable talent energy and creative ability. On this album, Brown not only shows his talent on his major instrument, the bass, but on cello as well. He plays cello on My One And Only Love, the title tune Two For The Blues and Baubles, Bangles And Beads. On these tunes, Hank Jones plays bass behind Ray's cello.

Nat Adderley (cornet); Joe Newman, Ernie Royal, Clark Terry (trumpet); Jimmy Cleveland (trombone); Cannonball Adderley (alto sax); Yusef Lateef (tenor sax, flute); Albert Johnson, Seldon Powell (tenor sax); Jerome Richardson (baritone sax, flute); Hank Jones (piano); Ray Brown (cello); Sam Jones (bass); Osie Johnson (drums).

Recorded Monday January 22, 1962

Two For The Blues

Walter Wolff - Tomorrow

Bitrate: 320K/s
Time: 51:25
Size: 117.7 MB
Styles: Piano jazz
Year: 2013
Art: Front

[6:49] 1. Backstabber Bebopper
[7:03] 2. Tomorrow
[3:23] 3. The White Guy
[5:58] 4. Spark
[1:56] 5. Jean
[2:32] 6. Simple Line
[5:24] 7. Look At My Face
[4:58] 8. Second Song
[5:01] 9. Morava
[4:12] 10. Waiting For Angela
[4:04] 11. Where Are We Going Heen

The music of Wolff/Angiuli/Fryland is founded in a solid knowledge of the tradition of jazz. But the trio also encapsulates a fresh approach to this old musical form – resulting in a lyrical and melancholic, yet at the same time energetic and intense sound. During the past 6 years this trio has performed throughout Europe and in 2008 the trio both toured and recorded with legendary vibraphonist Teddy Charles, receiving great international acclaim by both the press and the public. On their debut CD “Prelude” compositions by the trio members as well as more familiar jazz repertoire are taken into treatment. Now this trio is back with their second album and a debut on Challenge Jazz: again an extraordinary jazz album!

Tomorrow

Kendra Shank - Afterglow

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 49:13
Size: 116,6 MB
Art: Front

(5:17) 1. Almost Blue
(5:34) 2. Photograph
(8:26) 3. Tes Yeux Bemol
(3:44) 4. Paris Bossa
(7:38) 5. There's Never Been A Day
(6:23) 6. Afterglow
(4:07) 7. Devil May Care
(3:42) 8. I Have The Feeling I've Been Here Before
(4:18) 9. Left Alone

Singer Kendra Shank, who has a beautiful voice, has grown a lot since her debut CD, but her maiden effort is still worth checking out. In general, this set emphasizes slow ballads, and her voice is quite haunting on the more atmospheric pieces. Shank, who plays a bit of basic Brazilian guitar, is joined by a trio that includes pianist Larry Willis, plus (on two songs) guest altoist Gary Bartz. Other than "Devil May Care," the material is generally pretty obscure; Jobim's "Photograph," Billie Holiday's "Left Alone" and Shank's "Paris Bossa" are among the highlights. ~ Scott Yanow http://www.allmusic.com/album/afterglow-mw0000578706

Personnel: Kendra Shank (vocals, guitar), Gary Bartz (alto saxophone), Larry Willis (piano), Steve Novosel (bass), Steve Williams, Paul Murphy (drums), Steve Berrios (drums, percussion, congas). Personnel: Kendra Shank (vocals, guitar); Gary Bartz (alto saxophone); Larry Willis (piano); Steve Berrios (drums, congas, percussion); Steve Williams , Paul Murphy (drums).

Afterglow

Mandy Barnett - I Can’t Stop Loving You: The Songs Of Don Gibson

Styles: Country
Year: 2013
File: MP3@320K/s
Time: 35:55
Size: 84,7 MB
Art: Front

(2:17) 1. (Yes) I'm Hurting
(2:57) 2. Too Soon To Know
(2:28) 3. Look Who's Blue
(3:25) 4. Sweet Dreams
(3:14) 5. Just One Time
(3:31) 6. Blue Blue Day
(3:06) 7. Oh Lonesome Me
(3:25) 8. Oh Such A Stranger
(2:24) 9. Far Far Away
(3:20) 10. I Can't Stop Loving You
(2:23) 11. Lonesome Number One
(3:20) 12. Legend In My Time

It's a match made in heaven, or at least a match possible only in a place like Nashville where songwriter Don Gibson ventured out one night to a Nashville club hear a young woman, Mandy Barnett, whose sonic voice turned the songs it touched into gold. The two became close friends, and she told Gibson that she'd one day record an album of his songs. A decade after Gibson's death, Barnett has lined up Nashville's A-team of musicians Harold Bradley, Hargus "Pig" Robbins, Charlie McCoy, Andy Reiss, Lloyd Green and Alison Krauss - and produced a riveting album that features her soaring country torch voice driving jaunty interpretations as well as throaty ballad phrasings of many of Gibson's familiar songs. The album kicks off with (Yes) I'm Hurting, which features Reiss' Dick Dale-style guitar poise against dashing, urgent, strings while Barnett channels early Connie Smith or Lynn Anderson. On Look Who's Blue, Barnett delivers a rockabilly tune in the style of Wanda Jackson, replete with chicken-picked guitars on the lead break.

Although Barnett has already sung Sweet Dreams thousands of times in her role as Patsy Cline in the play "Always...Patsy Cline," she slows down the album version to a languorous, dream-like ballad. Cascading guitars reminiscent of the Everly Brothers' tunes open the song, and aching steel guitars pierce the song with their cry, and Barnett captures the sweet desire and sweet, painful regret of this "I-can't-quit-you" song. I Can't Stop Loving You is a perfect match for Barnett's torchy voice and the jazz arrangement that recalls Ray Charles' and Ella Fitzgerald's respective versions. Barnett slows Blue Blue Day down, weaving her voice under and around intricate guitar picking and McCoy's haunting harmonica, turning it into a gorgeous ballad in which she makes the blues palpable. With her powerful and spellbinding voice, Barnett pays fitting and loving tribute to Gibson's songs, and she demonstrates once again that she's as at home in a honky tonk as she is in a jazz club.

It's a match made in heaven, or at least a match possible only in a place like Nashville where songwriter Don Gibson ventured out one night to a Nashville club hear a young woman, Mandy Barnett, whose sonic voice turned the songs it touched into gold. The two became close friends, and she told Gibson that she'd one day record an album of his songs. A decade after Gibson's death, Barnett has lined up Nashville's A-team of musicians - Harold Bradley, Hargus "Pig" Robbins, Charlie McCoy, Andy Reiss, Lloyd Green and Alison Krauss - and produced a riveting album that features her soaring country torch voice driving jaunty interpretations as well as throaty ballad phrasings of many of Gibson's familiar songs. The album kicks off with (Yes) I'm Hurting, which features Reiss' Dick Dale-style guitar poise against dashing, urgent, strings while Barnett channels early Connie Smith or Lynn Anderson. On Look Who's Blue, Barnett delivers a rockabilly tune in the style of Wanda Jackson, replete with chicken-picked guitars on the lead break.

~ Henry Carrigan http://www.countrystandardtime.com/d/cdreview.asp?xid=5255http://www.countrystandardtime.com/d/cdreview.asp?xid=525

I Can’t Stop Loving You: The Songs Of Don Gibson

Eddie Metz And His Gang - Tough Assignment : A Tribute To Davie Tough

Styles: Swing, Contemporary jazz
Year: 1999
File: MP3@320K/s
Time: 70:46
Size: 162,9 MB
Art: Front

(4:07) 1. Smiles
(4:18) 2. It All Belongs To Me
(6:46) 3. Moanin' Low
(4:34) 4. Waiting At The End Of The Road
(5:39) 5. Beale Street Blues
(5:57) 6. It's Been So Long
(3:26) 7. Sophisticated Swing
(5:06) 8. At The Codfish Ball
(5:28) 9. Why Begin Again
(4:17) 10. I Hadn't Anyone 'Till You
(4:45) 11. Lover Come Back To Me
(6:05) 12. Hindustan
(4:48) 13. Not Too Tough
(5:24) 14. Tough Sledding

The drumming son of pianist Ed Metz, Ed Metz, Jr. plays music that was interpreted by early swing and big-band drummer Dave Tough, a stalwart with the bands of Red Nichols, Claude Thornhill, the Dorseys, Artie Shaw, and Woody Herman. While Metz, 41, is no doubt an engaging, literate, standout drummer, he's picked a backup band truly capable of fueling his swinging fire: Trumpeter Randy Sandke, trombonist John Allred, tenor saxophonist Harry Allen, clarinetist Allan Vaché, pianist Johnny Varro, and bassist Phil Flanigan take this music to heart and swing their collective butt off. This CD is neatly programmed into four sections. The first four pieces are culled from Tough's associations with bands in the '20s. "Smiles" is a good, hard swinger saturated with counterpoint (as are many of these tunes). The joy of this call-and-response approach is infectious, as is evident on the head of "It All Belongs to Me." Vaché, Allred, Sandke, and Allen each leads his own melody line for "Moanin' Low," while Sandke and Varro stand out as Metz trades fours on a rousing "Waiting at the End of the Road."

The next five pieces are from the Dorsey era. The delicate swing of "Beale Street Blues" gets deeper into royal hues as it goes along; "It's Been So Long" is a real fine swinger, with the horns inspiring a rippling drum solo; "Sophisticated Swing" is a feature for young Allen in an Ellington-type motif; "At the Codfish Ball" has more interplay on the head, and solos by all the participants; the ballad blues "Why Begin Again?" (which is probably closest to the Tommy Dorsey style), showcases Allred's trombone. In the third section of the program, Benny Goodman is feted by the always right-on Vaché on the easy swinger "I Hadn't Anyone 'Til You." Allen and Varro are in an upbeat mood for the classic "Lover, Come Back to Me," and Vaché's Artie Shaw inflections fire up the ripsnorting Metz on "Hindustan." The sole unison melody of the date, "Not Too Tough" comes from the Herman book and is a simple, enjoyable number charted by Allred. "Tough Sledding," written by Metz Jr. and his father, is an original blues swing with plenty of holes for drum fills. Though led by a drummer, this session is not obviously a drummer's date, which is a tribute to the importance that Tough placed on being a team player. Metz Jr. and crew have done Dave Tough proud with this fine date. ~ Michael G.Nastos http://www.allmusic.com/album/tough-assignment-tribute-to-dave-tough-mw0000053470

Personnel: Eddie Metz (drums); Harry Allen (tenor saxophone); Randy Sandke (trumpet); John Allred (trombone); Alan Vache (clarinet); Johnny Varo (piano); Phil Flanigan (bass).

Tough Assignment

Jonathan Kreisberg - One

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 46:10
Size: 107,2 MB
Art: Front

(5:11) 1. Canto De Ossanha
(6:02) 2. Summertime
(1:21) 3. Without Shadow
(5:23) 4. Skylark
(5:04) 5. Caravan
(2:02) 6. Tenderly
(4:04) 7. My Favorite Things
(5:26) 8. Hallelujah
(4:17) 9. E.S.P.
(4:42) 10. I Thought About You
(2:33) 11. Escape From Lower Formant Shift

The liner notes may say no overdubs or loops were used, but Jonathan Kreisberg might just as easily have included that "No guitars were harmed in the making of ONE." Beyond work with artists like vibraphonist Joe Locke on Sticks and Strings (Music Eyes, 2007) and organist Dr. Lonnie Smith on Spiral (Palmetto, 2010), the guitarist has slowly built a personal discography that includes the particularly impressive The South of Everywhere (Mel Bay, 2007) and Shadowless (New for Now, 2011). Kreisberg may come from a progressive rock background but has, over the past fifteen years, evolved into a virtuoso guitarist who, nevertheless, never substitutes style for substance. Still, it's a ballsy move to turn to that most exposed of contexts the solo recital and to do so without the looping and overdubbing so often used to allow others access to more expansive sound worlds. ONE covers considerable territory with nothing more than one man, one guitar and, on a couple tracks, some effects to broaden Kreisberg's palette.

It's hard not to think of seminal solo guitar innovator Joe Pass on Kreisberg's bright take on Juan Tizol's "Caravan," and a set-defining, similarly acoustic look at saxophonist Wayne Shorter's "E.S.P." that combines high-velocity, cascading phrases with ethereal abstractions, only to resolve into an unexpectedly Latin-esque main section. Kreisberg's language is, however, more modernistic, and here and throughout the album Kreisberg creates an impression of multiple guitarists by combining instrumental mastery with sleight-of-hand, effortlessly moving between bass, chordal and melodic roles to simultaneously imply all three. Kreisberg resorts to a clean, warm, hollowbody electric tone on Baden Powell/Vinicius De Moraes's classic "Canto De Ossanha" one of a number of ONE's covers that have been recorded almost ad nauseum, but which Kreisberg makes his own through distinctive arrangements and melodic invention. Kreisberg nails Leonard Cohen's often-covered "Hallelujah," combining respect and irreverence as, in an extended coda, he layers dissonances that, nevertheless, remain completely in context Cohen's melody lines are largely intact but moved a half step or three away from the tune's harmonic center, their tension finally resolved as Kreisberg returns to consonance to finish the tune with some impressive finger-picking.

Kreisberg kicks in more overt effects on ONE's two originals. On the serpentine "Without Shadow," his guitar sounds more like an organ," while on the dark- hued "Escape From Lower Formant Shift," Kreisberg's heavily overdriven tone harkens back to his pre-jazz days. But in a set that also includes other chestnuts like "Skylark" and "Summertime," Kreisberg's originals serve notice of his broader concerns. Kreisberg may love standards like "Tenderly" and "My Favorite Things," but what he does with them is never less than thoroughly contemporary. ONE may be 46 minutes of one man, one guitar, but in Kreisberg's hands it becomes a master class in just how unlimited that seemingly reductionist context can be. Truly solo jazz guitar recordings are few and far between, but with ONE, Kreisberg not only pays homage to past masters like Pass, George Van Eps and Lenny Breau, he makes clear that here, in the new millennium, he's unequivocally worthy of being mentioned in the same breath. ~ John Kelman

http://www.allaboutjazz.com/one-jonathan-kreisberg-new-for-now-music-review-by-john-kelman.php#.U2mKkihvCPM

Personnel: Jonathan Kreisberg: guitar.

One