Lizz Wright - Salt

Styles: Neo-Soul
Year: 2003
File: MP3@320K/s
Time: 50:31
Size: 116,3 MB
Art: Front + Back

(5:07)  1. Open Your Eyes, You Can Fly
(3:25)  2. Salt
(5:51)  3. Afro Blue
(4:26)  4. Soon as I Get Home
(4:06)  5. Walk With Me, Lord
(3:35)  6. Eternity
(3:57)  7. Goodbye
(4:33)  8. Vocalise/End of the Line
(4:15)  9. Fire
(4:06) 10. Blue Rose
(4:23) 11. Lead the Way
(2:42) 12. Silence

Vocalist Lizz Wright delivers jazz that harks back to such luminaries as Nina Simone and Abbey Lincoln on her debut Verve release, Salt. Still in her early twenties, Wright has a warm, dusky voice reminiscent of Cassandra Wilson and similarly to Wilson seems interested in tackling an eclectic mix of jazz standards, traditional folk, and R&B. Early on, a folky afterglow-Latin version of "Afro Blue" takes center stage followed by the gorgeous "Soon as I Get Home," which betters the version from The Wiz. Wright fairs equally well as a songwriter with about half the album filled with her soaring, bluesy ballads. There is a melancholy yet positive '70s vibe that eminates from songs like "Fire," which resonates lyrically as well as melodically much like the personal/sociopolitical writing of another of Wright's obvious inspirations, Terry Callier. Perhaps a little too low-key to register very high on the pop radio scale, but invested with enough sanguine emotionality and chops to make Salt easily recommended to fans of the neo-soul movement. ~ Matt Collar  http://www.allmusic.com/album/salt-mw0000020164

Personnel: Lizz Wright (vocals); Myron Walden (alto saxophone); Derrick Gardner (trumpet); Vincent Gardner (trombone); Kenny Banks (acoustic piano, Fender Rhodes piano); John Cowherd (acoustic piano); Sam Yahel (Hammond B-3 organ); Sarah Adams, Ron Carbone, Crystal Garner, Judy Witmerr (viola); Ellen Westerman (cello); Adam Rogers (acoustic, electric & bottleneck guitars); John Hart (acoustic guitar, guitar); Brian Blade (acoustic guitar); Doug Weiss (acoustic bass); Brian Blade, Terreon Gully, (drums); Jeff Haynes (percussion).

Salt

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Johnny Hodges - With The Lawrence Welk Orchestra

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 28:24
Size: 72,5 MB
Art: Front

(2:13)  1. Someone To Watch Over Me
(2:31)  2. Misty
(2:34)  3. Fantastic, That's You
(2:35)  4. Stardust
(2:33)  5. I Can't Get Started
(2:10)  6. Haunting Melody
(2:08)  7. When My Baby Smiles At Me
(2:13)  8. Blue Velvet
(2:47)  9. Sophisticated Lady
(2:32) 10. Canadian Sunset
(2:17) 11. In A Sentimental Mood
(1:50) 12. I'm Beginning To See The Light

This was one of the oddest matchups and yet ended up being fairly logical. Altoist Johnny Hodges had one of the most beautiful tones ever heard and Lawrence Welk always loved beautiful music. This Dot recording features Hodges on a dozen standards while accompanied by a string section, brass and a rhythm section. The concise and melodic interpretations are indeed pretty and the arrangements (by a dozen different writers) are generally fine. Plus the album cover (which has a picture of the unlikely duo) is classic. ~Scott Yanow   http://www.allmusic.com/album/johnny-hodges-with-lawrence-welks-orchestra-mw0000022765

Personnel: Johnny Hodges (alto saxophone); Lawrence Welk (conductor).

With The Lawrence Welk Orchestra

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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

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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!

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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

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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)

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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. 

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. 

~ 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

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