Gina Hayes - Montage

Styles: Jazz, Bossa Nova
Year: 2014
File: MP3@320K/s
Time: 41:29
Size: 95,1 MB
Art: Front

(4:19)  1. The Shadow of Your Smile
(3:47)  2. Agua De Beber
(3:40)  3. Callin' On My Girls
(4:32)  4. You're My Everything
(4:28)  5. Alfie
(3:46)  6. Our World Of Love
(4:24)  7. When Sunny Gets Blue
(4:17)  8. Breaking Up Is Hard To Do
(4:20)  9. Sweet Dreams (Dulce Sueños)
(3:52) 10. Callin' On My Girls (Remix)

Gina Hayes is a native Texan, born and raised in San Antonio. She received a B.A. in Criminal Justice from the University of Texas in San Antonio. She is married to her wonderful and supportive husband, Rob, and together they have two special needs sons, Robby and Joshua. “They are my biggest influences and keep me close to God. They are so smart, but not in a way this world recognizes. I feel they have a divine purpose. I am a spectator to God\'s handiwork each day I am entrusted with the care of these special souls”. Gina has always enjoyed listening to and creating what she calls “real music.” She feels that music is a gift that is best expressed when it comes straight from the heart and is funneled through to the fingertips or vocal chords. Early in her life she was influenced by Carole King and Linda Ronstadt. She feels that they set the bar pretty high for female artists. Even today she loves to listen to and get lost in the lush, strong voices of Patsy Cline, K.D. Lang and Annie Lennox. Gina too, has a unique voice that is pure tone capped off with edgy soul. Her guitar playing is a lulling, melodic compliment to her warm, molasses timbre. 

But don’t let her warm, smooth voice fool you. Her songs pack a real punch, much like an emotional rollercoaster. Whether your reminiscing about a loved one or contemplating eternity, you can bet Gina has asked much of the same “life” questions you have. Join Gina on her journey of the “hows” and “whys” of this life. Her songs always lead to the one true assurance of God’s love. Gina has decided to devote her talent as a singer/songwriter to convey her faith in Jesus Christ. Gina feels that her Christianity has been her only true inspiration for her music. She has stated that, “My cornerstone influence are the scriptures from the Holy Bible. I am searching for meaning and purpose in my life, and my son\'s lives, in a world that is not always accepting of people with conditions they don\'t understand.” Gina invites you to spend some time trying the samples of her songs. If this bio is as far as you get, she wants you to know that there is hope for this life and you are dearly loved. May God richly bless you.  http://www.cdbaby.com/cd/ginahayes2

Montage

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Alex Bugnon - Harlem

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 58:27
Size: 134,1 MB
Art: Front

(5:03)  1. Bridging the Gap
(5:09)  2. Pusherman
(5:13)  3. A Night In Tunisia
(3:37)  4. River Seine
(4:27)  5. Summer Soft
(4:19)  6. Lush Life
(6:37)  7. A House is Not a Home
(4:55)  8. Stompin' at Mikell's
(5:42)  9. Manhattan Lullaby
(5:32) 10. Up There on the Mountain
(5:16) 11. Jungle Bells
(2:31) 12. Witness

New York, NY…..Jazz pianist Alex Bugnon’s 12th and newest release, HARLEM, is sure to dispel any notion that he can be musically stereotyped.   Though he has been one of the most prolific and influential Smooth Jazz artists on the scene for more than two decades, HARLEM demonstrates that Alex’s virtuosity is anything but predictable. On this latest CD, Alex mixes it up offering the listener some of his own original compositions and flavoring the album with a playlist of classic tunes that he fashioned in his own inimitable style.  Alex pays homage to the likes of Dizzy Gillespie & Frank Paparelli (Night in Tunisia), Curtis Mayfield (Pusherman), Stevie Wonder (Summer Soft), Billie Strayhorn (Lush Life), and Burt Bacharach (A House is Not a Home).

A rare and uniquely gifted artist, Alex Bugnon has never shied away from the affiliation to the Smooth Jazz genre rather, he has resisted been compartmentalized when there is so much more to the man and his music. HARLEM is layered with his nuanced performances, beginning with “Bridging the Gap”, an original composition that lays the foundation, by offering the listener his signature musical styling and piano phrasing.   This is followed by a funky, neo-soul tribute to the classic hit of the 70’s, “Pusherman”.  Here you can clearly hear his early R&B, soulful influences garnered touring with artists like Patty Austin & James Ingram, Melba Moore and Freddy Jackson. Alex offers up a super cool version of the classic, “A Night in Tunisia” and employs Maysa’s distinctive and elegant vocals on the beautifully romantic tune, co-written with Martha Redbone, “River Seine”. 

On this album, Alex transitions from the present to the past with ease; from one side of the musical spectrum to the next, using his diverse musicality to bridge the genres, and in the process illustrates his absolute mastery of the keyboard.   He jams smooth and easy on the up-tempo rendition of “Summer Soft” and seamlessly steps into a highly sophisticated version of “Lush Life”.  Every one of the twelve tracks on this album presents a different side of the artist. HARLEM is an acknowledgement of Alex’s absolute love affair with music in all of its variances and a testament to his artistic evolution and unrestrained capacity for taking risks.  http://ejazznews.com/?p=20345

Harlem

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Kenny Garrett - Simply Said

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 60:21
Size: 138,4 MB
Art: Front + Back

(6:05)  1. G.T.D.S
(6:32)  2. Charlie Brown Goes To South Africa
(4:53)  3. Delta Bali Blues
(5:31)  4. Conversation With Hutcherson
(4:01)  5. Words Can't Express
(4:24)  6. Back Where You Started
(3:59)  7. Sounds Like Winter
(5:53)  8. Can I Just Hold Your Hand
(9:32)  9. Organized Colors
(6:01) 10. 3rd Quadrant
(3:23) 11. Simply Said

Since his late teens, Kenny Garrett has lived the kind of life most musicians only fantasize about. He's been a sideman for legends like Miles Davis, Art Blakey, Freddie Hubbard, Woody Shaw, and the Duke Ellington Orchestra. Emerging in the mid-'80s as one of contemporary jazz's most exciting and eclectic new solo artists, the saxophonist's albums have earned him worldwide recognition, four-star reviews, and top spots on reader polls and Rolling Stone's "hot list." Known for years primarily for his adventurous playing and sparkling improvisations, Garrett finally came into his own as a composer with his 1997 Grammy-nominated Warner Bros. release Songbook his first album comprised entirely of his own compositions. 

The concept behind Simply Said, Garrett's latest Warner Jazz release, must have been to further reflect his growth as a songwriter, keeping memorable melodies as the focus while exploring as the stylistically diverse performer has always done new exotic, rhythmic possibilities within the jazz framework. While Garrett has been very successful in the past covering the classics of influential artists (as he did on his previous Warners projects, 1993's Black Hope, 1995's Triology, and 1996's Pursuance: Music of John Coltrane), his growth as a songwriter has unleashed a desire to journey beyond what people might expect based on past projects. While Garrett kept his playing simple on lush, hypnotic ballads like "Can I Just Hold Your Hand?," "Sounds Like Winter," and "Words Can't Express," he and his core unit of gospel pianist/organist Shedrick Mitchell, acoustic bassist Nat Reeves, and drummer Chris Dave can't help but stir up the fires of the unexpected throughout the rest of the collection. 

Playful titles like "Organized Colors" (a nearly ten-minute piece incorporating a multitude of shades from silky and seductive to swinging and percussive), "Delta Bali Blues," "G.T.D.S" (aka "Give the Drummer Some"), and the whimsical piano, sax, and percussion jam "Charlie Brown Goes to South Africa" reflect the spirit Garrett was after here. Simply Said also features guest appearances by drummer Jeff Watts, electric bassist Marcus Miller ("G.T.D.S"), and Pat Metheny (who plays an atypical harmony role on "Yellow Flower" and "Sounds Like Winter"). ~ Jonathan Widran   http://www.allmusic.com/album/simply-said-mw0000667488

Personnel: Kenny Garrett (sopranino, soprano & alto saxophones); Mulgrew Miller (vocals, piano); Nat Reeves (vocals, acoustic bass); Jeff Watts (vocals, drums); Raymond Harris (vocals); Shedrick Mitchell (piano, organ); Pat Metheny (acoustic & electric guitars); Marcus Miller (electric bass); Chris Dave (drums); Bashiri Johnson (percussion).

Simply Said

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Hot Club De Norvège - Vertavo

Bitrate: 320K/s
Time: 41:04
Size: 95.3 MB
Styles: Swing, Gypsy jazz, String Quartet
Year: 1996/2005
Art: Front

[3:56] 1. Strings To Come
[2:05] 2. Spellbound
[2:40] 3. Gandhi's Revenge
[3:40] 4. Karlov
[2:27] 5. Femme Fatale
[4:39] 6. Blue Strings
[2:48] 7. Strictly Taboo
[5:54] 8. Fido
[2:09] 9. The Missing Link
[3:17] 10. Pascal
[4:24] 11. Fata Morgana
[3:01] 12. Oblivion

HOT CLUB DE NORVEGE is one of the original pioneers from the renaissance of the Django Reinhardt music in the 70-ies. Their starting point was the music of Django and the Quintette du Hot Club de France, mixed with gypsy folklore, waltzes and mainstram jazz, but also alternatives, like Frank Zappa, Carl Barks and Salvador Dalí. Today they have developed their own sound, and continue the search for a contemporary expression of the gypsy jazz.

HOT CLUB DE NORVEGE are famous to a large audience for their rare blend of virtuoso music and surrealistic humour, and they are touring world wide. They have performed and recorded with all the stars of the gypsy swing, from Stéphane Grappelli and Stochelo Rosenberg, to Jimmy Rosenberg, Angelo Debarre and Bireli Lagrene. They have also played with several classical ensembles and orchestras, from the Vertavo Quartet and Kristianssand Symphony Orchestra, to classical stars like Nigel Kennedy. Hot Club de Norvège have released more than 30 CDs, and DVDs.

HOT CLUB DE NORVEGE is: Jon Larsen (guitar), Finn Hauge (violin and harmonica), Per Frydenlund (guitar) and Svein Aarbostad (bass)

The Vertavo Quartet is internationally recognised as one of the most masterful string quartets playing today. Since their formation in Norway in 1984, their dynamic and deeply thoughtful performances have captivated audiences. In June 2005, the quartet was honoured with the Grieg-Prize: a prize bestowed on artists of high international standing and whose former recipients include Leif Ove Andsnes, Truls Mørk and the Grieg Trio. Just ten years previously in 1995 they had won First Prize at the 2nd Melbourne International Chamber Music Competition where they were also awarded the Audience prize and the Critics' prize.

Vertavo now play at all the major concert venues in the world. They tour extensively throughout Europe and also in Japan and the US. Their last US tour in 2013 included performances at Stanford Lively Arts, Chamber Music in Napa Valley and Lincoln Center. In the past year, tours and concerts have also taken them to Norway, Spain, Mexico, Sweden, Poland and the UK.

Vertavo String Quartet is: Øyvor Volle - violin; Annabelle Meare - violin; Berit Cardas - viola; Bjørg Lewis - cello.

Vertavo

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Jane Morgan - Jane In Spain

Bitrate: 320K/s
Time: 63:16
Size: 144.9 MB
Styles: Vocal
Year: 1959/2013
Art: Front

[3:14] 1. Granada
[2:23] 2. Perhaps, Perhaps, Perhaps (Quizás, Quizás, Quizás)
[3:08] 3. The Moon Was Yellow
[2:54] 4. What A Difference A Day Made
[2:28] 5. The Sound Of Music
[2:56] 6. C'est La Vie, C'est L'amour
[2:39] 7. You Belong To My Heart
[1:58] 8. If Only I Could Live My Life Again
[2:47] 9. Perfidia
[2:27] 10. It's Been A Long, Long Time
[2:48] 11. My Foolish Heart
[2:29] 12. Was It Day, Was It Night
[3:16] 13. Baia
[2:57] 14. Climb Every Mountain
[2:11] 15. I'm New At The Game
[2:15] 16. With Open Arms
[2:36] 17. Love Is Like Champagne
[1:57] 18. I'm In Love
[2:24] 19. Happy Anniversary
[2:48] 20. Magic Is The Moonlight
[2:43] 21. Adios
[2:59] 22. Be Mine Tonight
[2:12] 23. I Get Ideas
[2:37] 24. Let Me Love You Tonight

Vocalist Jane Morgan is known best for her lone Top Ten hit, "Fascination," drawn from the 1957 Billy Wilder film Love in the Afternoon. Born in Boston (as Jane Currier) but raised in Florida, Morgan was an early success as a singer in France. She made the transition back to America as a nightclub act, and signed to Kapp in the mid-'50s.Jane Morgan made her chart debut late in 1956, appearing alongside Roger Williams on "Two Different Worlds."

One year later she hit number seven with her theme "Fascination," based on the old French composition "Valse Tzigane." Both "The Day the Rains Came" and "With Open Arms" followed "Fascination" into the Top 40 during the late '50s, but Morgan had disappeared from the charts by the turn of the decade. (Her last hit was also a movie theme, for 1959's Happy Anniversary, directed by David Miller and featuring David Niven.) She continued recording for Kapp until 1962, and resurfaced four years later on Epic for Fresh Flavor, a rock-crossover LP that was only slightly embarrassing (her cover of "Good Lovin'" is a minor moment of kitsch). ~bio by John Bush

This 1959 LP finds her in a Latin way, singing Adios; Perfidia; Baia; Granada; Perhaps, Perhaps, Perhaps , and more. You also get a host of other tracks from 1957-59: My Foolish Heart; The Sound of Music; I'm in Love , and more, all on CD for the first time!

Jane In Spain   

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Karen Souza - Hotel Souza

Bitrate: 320K/s
Time: 37:50
Size: 86.6 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[3:45] 1. Paris
[2:33] 2. Night Demon
[3:56] 3. My Foolish Heart
[3:22] 4. Delectable You
[2:39] 5. Break My Heart
[3:43] 6. I Heard It Through The Grapevine
[3:55] 7. Wake Up
[4:14] 8. I´ve Got It Bad
[2:33] 9. Full Moon
[3:58] 10. Dindi
[3:08] 11. Lie To Me

There is no doubt that Karen Souza is poised to become recognized as one of the great new voices of jazz today. After the success of her remarkable debut album, Essentials, Karen decided to embark on a songwriting journey that took almost two years and led her far from her home in Buenos Aires to Los Angeles, where she joined with U.S. producer Joel McNeely. Famous for his work with immortal artists such as Tony Bennett, Peggy Lee, Al Green and Jaco Pastorius, McNeely has provided the arrangements with a sound that is both classic and modern a combination that is highly valued in this day and age.
Karen´s voice, intimate and sensuous as always, floats between clouds of strings and winds and creates an atmosphere that can only be described as vintage. One of the few versions found on this artist album is a very special rendition of "I Heard It Through The Grapevine" where Karen had the great fortune of performing with several musicians from Marvin's original band. Recorded at The Factory and on in the Century 21 studios in LA, this is an album that showcases Karen as an multifaceted artist about to embark on an exciting career. Hotel Souza is one of the most anticipated albums of the season.

Hotel Souza

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Darren Heinrich Trio - New Vintage Tunes For The Hammond Organ

Bitrate: 320K/s
Time: 74:13
Size: 169.9 MB
Styles: Organ jazz
Year: 2009
Art: Front

[4:56] 1. Lunar
[7:42] 2. Hicksville
[6:13] 3. Meanderthal
[7:18] 4. Willow
[4:50] 5. The Poledancer
[5:09] 6. I Don't Know
[6:24] 7. Slinky
[6:10] 8. Easy Autumn
[6:35] 9. Hello Goodbye
[5:21] 10. Three Shades Of Green
[5:39] 11. Meanderthal (Old School Version)
[7:50] 12. Willow (New School Version)

New Vintage Tunes for the Hammond Organ (2007) is perhaps a first for Australian Jazz - an album of entirely original material performed by an organ trio. The 10 tracks (and 2 bonus tracks), composed by Darren, run the gamut of the jazz spectrum in style. Swing, Funk, Boogaloo, Ballads and Blues all get a workout here and while Darren's influences may be evident to Hammond fans, the music is undeniably original and fresh. Produced by legendary US organist Tony Monaco during a visit to Australia, the album was recorded over two days by engineer Richard Belkener.

"Jazz organ is alive and well! In fact, since it's resurgence in the early 90s, Jazz Organ and the Soul Jazz movements continue to gain momentum. With the help of organist and producer Tony Monaco, Darren Heinrich makes his second contribution to the jazz organ discography with 'New Vintage Tunes for the Hammond Organ' his recording not only showcases his abilities at the Organ, but also highlights his compositional voice.

Darren uses two first class rhythm sections on this recording. Guitarist Steve Brien and drummer Andrew Dickeson, both faculty at the esteemed Sydney Conservatorium of Music, are "first call" musicians in Sydney. The second configuration of this trio consists of guitarist Simon Relf and drummer Tim Firth. Both Simon and Tim have an extensive performance background and are highly sought after in the Sydney Music Scene." Pat Bianchi, Jazz Organist, New York City 2008

"This album is my first to feature entirely my own compositions. The decision to record with two rhythm sections was simply due to the fact that I could not choose between them. Both line-ups have something special to offer, which I guess boils down to a traditional approach versus a more modern, looser feel. I love both styles and I think that the tunes work both ways. Of course, I ultimately had to pick between them and so here are what I feel are the best takes of each tune, with two alternate takes for the listener to compare and enjoy." ~Darren Heinrich

Darren Heinrich (Hammond B3) with Steve Brien (Guitar) & Andrew Dickeson (Drums) or Simon Relf (Guitar) & Tim Firth (Drums).

New Vintage Tunes For The Hammond Organ

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Vanessa Trouble - Too Darn Hot

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 45:27
Size: 104,3 MB
Art: Front + Back

(4:19)  1. Too Darn Hot
(3:01)  2. As Long As I Live
(4:22)  3. Moonglow
(2:13)  4. Let Yourself Go
(3:34)  5. Blue Until Tomorrow
(4:54)  6. Lover Man
(3:32)  7. I Wish You Love
(2:52)  8. Everything's Movin' Too Fast
(5:28)  9. The Look of Love
(1:42) 10. Puttin' On The Ritz
(4:31) 11. On a Slow Boat to China
(4:52) 12. Old Devil Moon

Vanessa is a vocalist and band leader bringing an energetic, nuanced sensuality to the American jazz and swing songbook and occasionally styling new classics. She’s honed her vocal and performance skills all over the country and abroad, fronting various jazz ensembles. Vanessa currently fronts her New York City based “modern retro” swing band, The Red Hot Swing that boasts an 11 years solid back-up band of Mark McCarron, guitar, Stefan Schatz, drums, Andrew Hall, bass, Michael Hashim, saxophone, and Marty Bound, trumpet. She performs regularly with notable guitarists Nick Demopoulos, James Chirillo and Steve Salerno, bassists Sean Smith, Neal Minor, Jim Whitney and Peter Weiss, pianists Don Stein, Bennett Paster and Michael Kanan, and trumpet virtuoso Charlie Caranicas.  http://www.last.fm/music/Vanessa+Trouble/+wiki

Too Darn Hot

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Buddy Bregman And His Orchestra - Swinging Kicks

Styles: Jazz, Swing, Big Band
Year: 1956
File: MP3@320K/s
Time: 39:06
Size: 94,9 MB
Art: Front

(3:22)  1. Wild Party
(1:24)  2. Melody Room
(2:57)  3. Bada Blues
(2:11)  4. Kicks Swing
(1:51)  5. Melody Lane
(1:51)  6. Lost Keys
(1:28)  7. Go Kicks
(2:15)  8. Gage Flips
(2:50)  9. Derek's Blues
(1:36) 10. Mulliganville
(2:16) 11. Terror Ride
(3:46) 12. The Flight
(2:02) 13. Tom's Idea
(1:59) 14. Melodyville
(2:34) 15. Honey Chile
(1:18) 16. End Of Party
(3:18) 17. Kicks Is In Love

Best known as an arranger for singers and for commercial sessions, Buddy Bregman led one full-fledged jazz instrumental date, Swinging Kicks. Because many of the selections are brief (seven are under two minutes) and due to the intriguing titles, this seems a bit like a soundtrack to a film that was never made. However, few of the tracks seem truncated and there are some excellent solos along the way, particularly from Ben Webster, Conte Candoli, Herb Geller, Bud Shank, and Paul Smith. The personnel changes from cut to cut, ranging from a 19-piece big band with screaming trumpet playing from Maynard Ferguson and Conrad Gozzo to various combos, a Ben Webster/André Previn duet on "Kicks Is in Love," and a rapid workout for Paul Smith on "Go Kicks." Bregman uses some of the top West Coast jazz players and various musicians who were on Verve at the time, with Stan Getz making a guest appearance on "Honey Chile." Recommended. ~ Scott Yanow   http://www.allmusic.com/album/swinging-kicks-mw0000602261.

Personnel: Al Hendrickson (guitar); Herb Geller, Bud Shank (alto saxophone); Georgie Auld, Stan Getz , Ben Webster, Bob Cooper (tenor saxophone); Jimmy Giuffre (baritone saxophone); Conrad Gozzo , Conte Candoli, Maynard Ferguson, Pete Candoli, Ray Linn (trumpet); Milt Bernhart, Frank Rosolino, George Roberts , Lloyd Ulyate (trombone); André Previn , Paul Smith (piano); Alvin Stoller, Stan Levey (drums).

Swinging Kicks

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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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