David Reinhardt Trio - S/T

Bitrate: 320K/s
Time: 49:44
Size: 113.9 MB
Styles: Gypsy jazz
Year: 2006
Art: Front

[3:09] 1. All The Things You Are
[2:55] 2. Berga
[3:25] 3. Casting
[4:00] 4. Chaumont
[5:07] 5. Dawson
[4:39] 6. Histoire Simple
[5:06] 7. Micro
[4:44] 8. Nina
[3:16] 9. Nuages
[4:20] 10. Oh Samba Lec
[2:44] 11. Pretexte
[6:14] 12. Swing 42

Grandson of the great Django Reinhardt and son of Babik, David Reinhardt was born in Longjumeau, France in 1986. He made his first stage appearance as a guitar player in 1993 at the age of 6, accompanied by his father Babik in a tribute to Django at the Django d'or. Without any concerns for the pressures that might come with such a namesake, David Reinhardt has carried out his family tradition with grace and a style all his own. After the passing of his father in 2001, he naturally took on his role in Christian Escoudé's Trio Gitan. With his David Reinhardt Trio, he has graced the stage of countless jazz events worldwide, including Philips Dubaï International Jazz Festival, Festival Internazionale Jazz Manouche de Turin and Le Festival International de Jazz de Montréal.

David Reinhardt Trio

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Kellylee Evans - Nina

Bitrate: 320K/s
Time: 48:40
Size: 111.4 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[3:23] 1. Do What You Gotta Do
[3:59] 2. Don't Let Me Be Misunderstood
[2:48] 3. Ain't Got No/I Got Life
[4:27] 4. Mood Indigo
[4:21] 5. Feeling Good
[4:03] 6. Tomorrow Is My Turn
[2:30] 7. I Loves You Porgy
[2:11] 8. July Tree
[3:43] 9. Love Me Or Leave Me
[4:02] 10. Ne Me Quitte Pas
[5:19] 11. Sinnerman
[7:48] 12. Wild Is The Wind

Every once in a while an homage project comes along actually doing what it sets out to do: pay homage. That the object of the present homage is the enigmatic Nina Simone makes Canadian Kellylee Evans' Nina that much more a definitive statement of a courageous cultural career. Add to this that Evans thoughtfully does not cover Simone's "Mississippi Goddamn," and this collection is properly frames not only Simone, but also Evans, whose musical vision, already established, is a formidable one.

Evans employs a small, uncomplicated band for her spare treatment of the Simone songbook. The piano trio is replaced by a svelte guitar trio led by guitarist Marvin Sewell, whose damped round tone provides a retro-Herb Ellis tone. Evans effects a performance of the traditional "Sinnerman" that lays half-way between Simone's 1965 recording pm Pastel Blues (Philips), and Peter Tosh's reggae incarnation "Downpressor Man," from Equal Rights (CBS, 1977). Sewell plays a soupy slide guitar over Francois Moutin's burping jungle groove, propelled by Andre "Dede" Ceccarelli's snare-less drumming. Evans sings with a relaxed urgency, one not unlike Simone. But amidst it all, Evans retains her own potent identity with material that would have eaten lesser talent alive. Simone is properly honored while Evans is properly framed. ~C. Michael Bailey

Kellylee Evans: vocals; Marvin Sewell: guitars; François Moutin: bass; Andre Ceccarelli: drums.

Nina 

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Oscar Peterson Trio - Encore At The Blue Note

Bitrate: 320K/s
Time: 73:55
Size: 169.2 MB
Styles: Bop, Piano jazz
Year: 1990/2009
Art: Front

[ 9:24] 1. Falling In Love With Love
[ 9:00] 2. Here's That Rainy Day
[13:00] 3. Medley: Goodbye Old Girl/He Has Gone
[ 8:35] 4. The Gentle Waltz
[ 9:15] 5. Billie's Bounce
[ 5:10] 6. The More I See You
[ 8:43] 7. I Wished On The Moon
[10:45] 8. Cool Walk

The fourth CD taken from a reunion engagement at the Blue Note by pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown and drummer Bobby Durham, this set is up to the same level as the other three. The Oscar Peterson Trio of the late '50s (along with Peterson's drummer of a decade later) jam through five standards (including a heated "Falling in Love with Love") and four of Peterson's originals, highlighted by a medley of his "Goodbye Old Girl" and "He Has Gone."

Encore At The Blue Note

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Sarah McLawler & Richard Otto - We Bring You Swing

Bitrate: 320K/s
Time: 57:18
Size: 131.2 MB
Styles: Swing
Year: 2011
Art: Front

[1:51] 1. When Lilacs Bloom
[2:05] 2. Canadian Sunset
[2:23] 3. Slow Boat To China
[2:39] 4. Robbins Nest
[2:35] 5. Rainbow On The River
[2:35] 6. My Reverie
[2:52] 7. Midnight Sun
[2:15] 8. Lullaby Of Birdland
[2:15] 9. Love Walked In
[2:29] 10. The High And The Mighty
[2:18] 11. A Foggy Day
[2:18] 12. Caravan
[2:16] 13. A Foggy Day
[2:36] 14. My Reverie
[2:15] 15. Lullaby Of Birdland
[2:29] 16. The High And The Mighty
[1:51] 17. When Lilacs Bloom
[2:18] 18. Caravan
[2:23] 19. Slow Boat To China
[2:37] 20. Robbins Nest
[2:17] 21. Love Walked In
[2:05] 22. Canadian Sunset
[2:35] 23. Rainbow On The River
[2:50] 24. Midnight Sun

In mid 1953, Sarah is signed to Brunswick. She is joined by her childhood friend Gayle Brown for the Brunswick release "Gone Are The Days". In June, Sarah and her trio are on stage for a week at New York's Apollo Theater. In May Brunswick releases #84009 - "I'm Tired Of Crying Over You" and "Foolin' Myself". This is followed the next month by #84014 - "Let's Get The Party Rockin'" and "Blue Room" recorded with Georgie Auld and his band. In early July Sarah plays a week at Washington D.C.'s Howard Theater. Not much is heard from McLawler until the following April when she begins a long association with violinist Richard Otto. Brunswick #84026 contains "Somehow" and "You're Gone". Other records for Brunswick include "Body And Soul" and "Yesterday". The Capitol Lounge is the last remaining R & B room in the Chicago Loop. In May of 1954 that room calls it a day and Sarah has the distinction of being the last musical attraction to perform at that room. In October Sarah plays a number of club dates in New York's Harlem.

From that time on for a number of years, Sarah was part of a unique trio of organ, violin, and drums. The violinist was Otto whom she eventually married, and the drummer was Tommy Hunter. They recorded a number of singles including "Relax Miss Frisky", "Flamingo", "Canadian Sunset", and "At The Break Of Day", and albums for the Vee-Jay label, the most successful being the "We Give You Love". A followup LP was recorded under the title "We Give You Swing". The McLawler - Otto trio closed out 1959 with a tour through the Midwest with Ray Charles ending up with a holiday week at Chicago's Regal Theater. She remained a wonderful performer, and a part of the R & B legacy that started it all.

We Bring You Swing

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Janis Mann - A Perfect Time - Drummers And Other Friends

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 76:23
Size: 175,2 MB
Art: Front

(5:51)  1. All my tomorrows
(6:29)  2. Summer night
(4:11)  3. Sharing the night with the blues
(6:35)  4. Quietly there
(4:32)  5. Can’t get out of this mood
(6:11)  6. The meaning of the blues
(4:26)  7. Cool
(5:41)  8. Someone to light up my life
(4:29)  9. Young and foolish
(5:31) 10. Everything happens to me
(4:27) 11. Love walked in
(4:18) 12. Watch what happens
(4:25) 13. Just in time
(3:41) 14. Once in a while
(5:29) 15. Old devil moon

Perhaps you know Janis Mann for her decade-long prominence among Seattle’s many great female jazz singers, or for the four collections of standards she released between 1997 and 2003. If not, then A Perfect Time: Drummers and Other Friends is, indeed, a perfect time to acquaint yourself with a truly splendid, if vastly underappreciated, vocalist. Mann, who originally hails from Brooklyn and has now settled in L.A, is owner and operator of a splendid instrument that owes as much to June Christy as it does to Sarah Vaughan. She possesses the unique ability to be simultaneously cool and sultry, to seem as crystalline as Baccarat’s finest yet smoky as a Dietrich film festival, and to suggest that she’s just stepped out of the 1950s while sounding utterly contemporary.

As the album’s title hints, Mann’s intent is to celebrate her admiration for first-class drummers by dividing the 15 tracks among four of the very best, with Peter Erskine, Joe La Barbera and Roy McCurdy each sitting in for four tracks and Paul Kreibich stick-handling the remaining three. The four lads’ contributions are expectedly superb. But, being the pros they are, all are far more interested in keeping their brilliance in the background, pushing Mann’s magnificent voice fully in the spotlight. (Oh, and while we’re on the subject of superlative accompaniment, it is imperative to add that bassists Chuck Berghofer and John Clayton deserve high praise for their equally subdued, equally gorgeous work.) The exquisite way in which Mann, with considerable assistance from arranger, producer and pianist Tamir Hendelman, finesses the likes of “Love Walked In,” “Just in Time,” “Once in a While” and “Watch What Happens” is beyond compare.

But what makes A Perfect Time most pleasurable is Mann’s ability to dig up less-familiar chestnuts Harry Warren’s softly wistful “Summer Night,” Johnny Mandel’s heartbreakingly wishful “Quietly There,” Jimmy Van Heusen and Sammy Cahn’s joyously optimistic “All My Tomorrows” and the cautionary West Side Story anthem “Cool” (performed with such keenly intelligent precision that it sounds more choreographed than arranged) and transform them into the luminous gems they deserve to be.                 ~ Christopher Loudon   http://jazztimes.com/articles/20852-a-perfect-time-drummers-and-other-friends-janis-mann

Personnel: Janis Mann (vocals); Diane Schuur (vocals, piano); Jeff Clayton (alto flute, alto saxophone); Tamir Hendelman (piano); Joe La Barbera, Peter Erskine, Roy McCurdy, Paul Kreibich (drums).

A Perfect Time - Drummers And Other Friends

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Jessy J - Second Chances

Styles: Vocal And Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 41:41
Size: 96,3 MB
Art: Front

(4:57)  1. Listen 2 the Groove
(3:42)  2. Second Chances
(3:34)  3. Feel Like Makin' Love
(4:25)  4. Magalenha
(4:15)  5. Tango For Two
(4:14)  6. Dos
(3:24)  7. La Luna Feliz
(5:15)  8. Double Trouble
(3:06)  9. Mambo Gumbo
(4:45) 10. Twice

It's a paradox that what distinguishes Jessy J was the very thing she did not put enough emphasis upon; being a female Latin jazz artist. Through three albums of solid, if standard, smooth jazz grooves enlivened somewhat by more distinctive outbursts of originality the lady known as Jessica Spinella stumbled with the blandly generic Hot Sauce (Heads Up, 2011). In every musician's career a time comes when they must choose to follow a path to success chartered by others or one chartered by themselves. Perhaps Jessy J realized she was marginalizing herself as just another smooth jazz saxophonist in an overcrowded field and decided it was time for a course correction. Either way Second Chances shows a musician willing to take chances even if they aren't big chances. It's still a compliment as Hot Sauce failed to be little more than product. Here, with Jessy J handling the production chores herself, she isn't going for complete reboot as much as a conceptually constructed album built around original compositions on the number two ("Listen 2 the Groove," "Second Chances," "Tango for Two," "Dos," "Double Trouble," "Twice") and a few covers, Eugene McDaniels' classic "Feel Like Makin' Love" and "Magalenha" by Sergio Mendes. 

The result is the most fully realized album of the young musician's career and certainly her most consistent. Playing alto, tenor, soprano and baritone sax as well as flute, Jessy J shows off her versatility. Her breathy, girlish vocals on "Feel Like Making Love" won't make anyone forget Roberta Flack, but the support from Bryant Sinono (bass), Tim Stewart (guitar) and Norman Jackson (keyboards) from her own band step up and elevate the tune from a skip to at least listenable. In the shift to put smooth jazz riffing aside to get closer to her Latin roots Jessy J is ably assisted by Jeff Lorber and Johnny Britt, a multi-instrumentalist, vocalist and songwriter who takes a lead vocal turn on the jumpin' "Mambo Gumbo" penned by Jessy J and Joe Sample. It doesn't hurt that her playing here is easily her best on record. Jessy J's confidence and skill has done nothing but grown and whether she's jamming on the tenor sax with Lorber and Jimmy Haslip on "Tango for Two" or soaring as she alternates between soprano and flute the lady does not fail to impress. 

Initially, Jessy J seemed fated to be just another underachiever playing her saxophone competently if not memorably. Despite this being her fourth album, she truly seems to have made the most of a second chance to distinguish herself from a crowded field of players and by getting back to basics Second Chances is reason enough to give her a second listen. ~ Jeff Winbush   http://www.allaboutjazz.com/second-chances-jessy-j-shanacie-review-by-jeff-winbush.php#.U3PpdCi9a5w

Personnel: Jessy J: tenor, alto, baritone, and soprano saxophone, flute, vocals; Jeff Lorber: keyboards, guitar, strings; Jimmy Haslip: bass, background vocals; Tony Moore: drums; Dwight Sills: guitar; Johnny Britt: keyboards, drum programming, trumpet, vocaks, additional vocals and vocal arrangement; Norman Brown: guitar, keyboards; Frank Abraham: bass; Michael Angel: rhythm guitar; Richie Gajate Garcia: percussion; keyboards; Norman Johnson: keyboards, strings; Bryant Sinono: bass, bass, keyboards, electric guitar; Charles Streeter: drums; Tim Stewart: guitar; Michael Thompson: guitar; Mike White: drums; Nancy Lyons: chorus vocals; Facundo: vocals, guitars

Second Chances

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Gordon Webster - Live In Rochester

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 54:08
Size: 124,5 MB
Art: Front

(3:59)  1. Night Train
(4:04)  2. Five Foot Two
(4:29)  3. Ochi Coymiye
(3:47)  4. Paramour
(5:12)  5. Darkness On The Delta
(4:15)  6. Blues My Naughty Sweetie Gives To Me
(4:47)  7. Sweet Sue
(3:15)  8. Diga Diga Doo
(4:26)  9. Sweet Potato Fries
(4:23) 10. Comes Love
(5:37) 11. I Like Pie
(5:47) 12. Dream A Little Dream

Pianist Gordon Webster has performed with Wycliffe Gordon, Grant Green Jr., Tim Hagans, Donny McCaslin, Ingrid Jensen, Chris Parker, Steve LaSpina, Jim Rotondi, Adam Nussbaum, Ron McClure, Chris Potter, Joel Frahm, and Jim Black among others. His playing has been showcased in numerous New York City venues including the Blue Note, The Iridium, Sweet Rhythm, The Cutting Room, Cleopatra’s Needle, Makor, 92nd Street Y, Mannahatta Lounge, Kavehaz, Triad Theater, Smalls, Cafe Vivaldi, The Bar Next Door, St. Nick’s Pub, Night and Day, and Dizzy’s Club Coca-Cola. Webster graduated from the Manhattan School of Music Masters Degree in jazz studies program in 2006, and has studied privately with Kenny Barron, Garry Dial, Sonny Bravo, Ari Heonig and Samir Chatterjee. He has performed in Japan, Korea, Hong Kong, Singapore, France, Australia, and throughout the United States and Canada at international jazz festivals, jazz clubs, and dancing events including lindy exchanges, workshops and camps. 

Originally from Ottawa, Webster began studying music at the age of four. In 1993 he moved to Toronto where he earned a Bachelor of Music from the University of Toronto in 1999. During his eleven years as a Toronto resident, Webster was able to collaborate with many of Canada’s finest jazz instrumentalists and singers. His first trio recording, as a leader, “Three We” was released in 2000 with sidemen Duncan Hopkins and Kevin Dempsey. Other recording credits include Canadian jazz releases with Chris Robinson, Kim Addison, Rita di Ghent; groove/fusion projects KITE, Jukejoint and Gruvoria; a recent duo album with Rochester trumpeter Mike Kaupa; and brother Mike Webster’s fall 2005 release Leading Lines featuring bassist John Benitez (Eddie Palmeri, Chick Corea, John Scofield) and trumpeter Mike Rodriguez (Charlie Haden, Joe Lovano, Clark Terry). 

Gordon has taught jazz improvisation and piano at Jazzworks summer camp near Ottawa, Canada for five years, maintains a sizeable roster of private students, and has appeared in educational concerts for children with the National Arts Centre Orchestra in collaboration with conductor Boris Brott. In addition to his ongoing creative pursuits as a jazz musician, Gordon developed a passion for lindy hop and blues dancing over the past six years, which has become a significant influence in his life since 2001. ~ Bio   http://www.last.fm/music/Gordon+Webster/+wiki

Personnel: Naomi Uyama, Steven Mitchell, Aurora Nealand, Jesse Selengut - vocals; Gordon Au, Jesse Selengut - trumpet; Aurora Nealand, Dan Levinson - reeds; Matt Musselman - trombone; Gordon Webster - piano; Cassidy Holden - guitar; Rob Adkins - bass; Jeremy Noller - drums

Live In Rochester

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Evan Christopher - Delta Bound

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 66:39
Size: 153,7 MB
Art: Front

(5:50)  1. Vieux Carre
(5:58)  2. Rampart Street Ramble
(4:02)  3. Creole Belles
(7:26)  4. New Orleans
(3:34)  5. Kiss Me Sweet
(7:22)  6. La Ciudad Criolla
(3:48)  7. The King Of Treme
(4:55)  8. Desire
(3:55)  9. Out Of There
(6:17) 10. While We Danced At The Mardi Grac
(6:30) 11. Sunday Morning
(6:55) 12. Delta Bound

The clarinet and New Orleans share a long tradition of rhythmic swing and lyrical adventure. Long before Pete Fountain and Larry Shields, there were trad jazz pioneers including Lorenzo and Louis Tio, Lorenzo Tio Jr., Albert Nicholas, Alvin Batiste, Johnny Dodds, Barney Bigard, Omer Simeon, Jimmy Noone, Tony Scott and Sidney Bechet. The instrument, with its throaty, wooden timbre, allows emotions to be bared and feelings set free when in the hands of a master. Delta Bound recalls the masters of the clarinet while applying fresh, original songs to a syncopated rhythmic memory that remains timeless. Clarinetist Evan Christopher, still in his thirties, hails from Long Beach, California, where he was exposed to all kinds of music and art as a youngster. Now working on his Masters Degree at Tulane University in New Orleans, he's enlisted the support of pianist Dick Hyman, bassist Bill Huntington and drummer Shannon Powell to 'splain the magic of The Big Easy and all its charming musical elements. 

Christopher has you dancing in the streets, holding a colorful parasol and tossing baubles and beads to passers-by before the CD player reaches the album's title track. Written by Alexander Hill, it drives like a slow freight that knows where the tracks lead, as Christopher's clarinet signals a passive voice above the rhythmic stride of piano, bass and drums. Christopher gives Hoagy Carmichael's "New Orleans a welcome waltz step that swings high and low through the clarinet's registers. "La Ciudad Criolla and "The King of Treme, both originals, balance deep feeling with superb musicianship. A winning combination such as this shares the tradition of New Orleans while lifting spirits to lofty heights. ~ Jim Santella   http://www.allaboutjazz.com/delta-bound-evan-christopher-arbors-records-review-by-jim-santella.php#.U3bqIyi9a5w

Personnel: Evan Christopher: clarinet; Dick Hyman: piano; Bill Huntington: double-bass; Shannon Powell: drums.

Delta Bound

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Mulgrew Miller - Forget Me Nots

Size: 245,6 MB
Time: 105:57
File: MP3 @ 320K/s
Released: 2013
Styles: Piano Jazz, Contemporary Jazz
Art: Front

01. One Fine Day In May (7:01)
02. Summertime (9:25)
03. No Moon At All (6:59)
04. What's New (4:59)
05. The Survivor (8:46)
06. Come Rain Or Come Shine (5:36)
07. Cool Breeze (5:17)
08. Twerk It (8:40)
09. I Concentrate On You (6:26)
10. Sincerely Yours (9:22)
11. One For Mulgrew (4:32)
12. Willow Weep For Me (7:36)
13. The Hook Up (9:05)
14. I Fall In Love Too Easily (8:21)
15. Let's Face The Music And Dance (3:44)

Mulgrew Miller with Christian Scott, Donald Harrison, Harry Allen & Randy Sandke

An excellent pianist who played in a style influenced by McCoy Tyner, Mulgrew Miller was quite consistent throughout his career. He was with Mercer Ellington's big band in the late '70s and had important stints with Betty Carter (1980), Woody Shaw (1981-1983), and Art Blakey's Jazz Messengers (1983-1986). For a long period, he was a member of the Tony Williams Quintet (1986-1994). In addition, Miller led his own sessions for Landmark (starting in 1985) and Novus. Sadly, Mulgrew Miller died of a stroke in Allentown, Pennsylvania on May 29, 2013; he was 57 years old. ~Biography by Scott Yanow

Forget Me Nots

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Magos & Limon - Dawn

Size: 127,0 MB
Time: 54:40
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Flamenco, Fusion
Art: Front

01. Afro Blue (4:41)
02. Dawn (3:41)
03. Skylark (4:23)
04. La Martiniana (4:42)
05. My Love For You (5:11)
06. Wild Is The Wind (3:36)
07. O Que Tinha De Ser (3:24)
08. Tierra Movida (5:28)
09. Oraçao Ao Tempo (4:14)
10. La Llorona (6:04)
11. Nature Boy (4:33)
12. Blue In Green (4:37)

It’s seven p.m., in an indistinguishable neighborhood bar in New York City. There’s a man sitting alone with a cup of coffee, his guitar leaning against the wall. A tall, thin, young woman with a slow, elegant gait walks through the door. Without saying a word she approaches him, and sits down next to him.

This could be the opening scene of a novel or a French thriller from the 50s, but in reality, it is the start of an extraordinary musical adventure – a first encounter between two musicians destined to fall in love.

Magos Herrera, renown Mexican-born jazz singer and resident of New York City, has worked with the best jazz musicians from around the world for many years, combining her Latin roots with the sound of contemporary American jazz, thus, positioning herself among a musical elite.

The man sitting in the bar, Javier Limón, is a laureate composer, guitarist and internationally recognized producer, known for his collaboration with Paco de Lucia, Bebo and Chucho Valdes, Buika, Avishai Cohen and Wynton Marsalis, among others. He has become an indispensable reference in the genre of Flamenco and future international music.

DAWN represents an encounter between the profound, sophisticated voice of Magos Herrera and the intricate Flamenco guitar of Javier Limón, the convergence of vanguard jazz and minimalist Flamenco, a summit of sound for the 21st century.

It is an intimate trek through a repertoire of select American and Latin jazz masterpieces including songs such as Afroblue, Skylark and Blue in Green by Miles Davis and O que tinha de ser (What Has to Be) by Antonio Carlos Jobim, among others, while flirting with some new and surprisingly original compositions by the duo.

Be it in English, Spanish or Portuguese, the self-control of Magos’ interpretation and the power of her words and voice combined with Limón’s refined simplicity and harmony, in addition to the careful rendering of this project make DAWN a cutting-edge, revolutionary approach to Flamenco-jazz.

A blanket of silence in the air, fragile words, glances and emotions which mark the momentum of the recording production coupled with a live performance experience give pause to time affording a trek through an eternal DAWN.

Dawn

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New Orleans Organ Trio - Organ Transplant

Size: 135,6 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2006
Styles: New Orleans Jazz Blues
Art: Front

01. Vinny's Blues (5:21)
02. 15 Hours Of Your Love (3:52)
03. Second Line Fever (2:36)
04. Worried Man Blues (3:53)
05. Ease Back (5:57)
06. Fried Neckbones (6:15)
07. Hey Pocky A-Way (4:09)
08. The Smell Of Paradise (3:53)
09. Get The Money (5:00)
10. I`ve Been Hoodood (4:58)
11. Jockomo (4:28)
12. Soul Shakedown Party (3:46)
13. I Don`t Wanna Say Best Wishes (3:32)

Raphael Wressnig - Hammond B3 organ, backing vocals
Paul Griesbach - sax, backing vocals
Matthias Peuker - drums, vocals

Organ Transplant

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Libby York - Memoir

Size: 122,8 MB
Time: 53:38
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Give Me The Simple Life (Feat. Russell Malone) (5:39)
02. When In Rome (I Do As The Romans Do) [Feat. John Dimartino] (5:37)
03. Put It There, Pal (Feat. Warren Vache) (2:45)
04. Thanks For The Memory (Feat. Russell Malone & Warren Vache) (6:31)
05. Take Me Back To Manhattan (Feat. Warren Vache) (4:31)
06. I Was Doing Alright (Feat. John Dimartino) (4:04)
07. My Little Boat (O Barqueno) (Feat. Russell Malone) (5:27)
08. Let's Call The Whole Thing Off (Feat. Warren Vache) (5:02)
09. On A Slow Boat To China (Feat. Warren Vache) (5:36)
10. How Long Has This Been Going On (Feat. John Dimartino) (5:41)
11. Walk Between The Raindrops (Feat. Greg Sergo) (2:40)

While Diana Krall continues to top vocal polls and rack up platinum album sales, Chicagoan Libby York remains comparatively obscure. So consider this open invitation to all Krall fans to dip into York’s meager—just four albums across 15 years—but mighty oeuvre. Memoir, a terrific collection of standards, is an ideal place to start. What you’ll discover is an interpreter who is not only every inch Krall’s equal but also bears a strong vocal resemblance to the Canadian superstar: warm, intimate and imbued with a fogbound sexiness.

York has always demonstrated superb taste in both song selection and sidemen. Here, traveling from a tender “How Long Has This Been Going On?” and a sly “When in Rome” to a shimmering “My Little Boat” and sprightly “Walk Between the Raindrops,” she is seamlessly supported by pianist John di Martino (her co-arranger on all 11 tracks), bassist Martin Wind, drummer Greg Sergo and cornet player Warren Vaché. Guitarist Russell Malone joins on three tracks, including a misty “Thanks for the Memory,” and Vaché twice contributes vocal accompaniment, adding gravel-filled joy to “Let’s Call the Whole Thing Off” and a cleverly updated take on the Bing Crosby-Bob Hope chestnut “Put It There, Pal.” ~Review by Christopher Loudon

Memoir

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Count Basie - Chairman Of The Board

Bitrate: 320K/s
Time: 47:23
Size: 108.5 MB
Styles: Big band
Year: 1959/2011
Art: Front

[3:10] 1. Blues In Hoss' Flat
[2:37] 2. H.R.H (Her Royal Highness)
[6:11] 3. Segue In C
[3:31] 4. Kansas City Shout
[3:24] 5. Speaking Of Sounds
[3:12] 6. T.V. Time
[5:10] 7. Who Me
[4:46] 8. The Deacon
[3:22] 9. Half Moon Street
[3:35] 10. Mutt And Jeff
[3:32] 11. Fair And Warmer
[4:48] 12. Moten Swing

Although it appeared at a time when Count Basie was enjoying respect from all quarters (as evidenced by the pop acclaim of several Grammy awards and the jazz faithful's enthusiasm for his concert at Newport), Chairman of the Board was, comparatively, a low-profile session. The record was surrounded in Basie's discography by several prize-winners and a parade of studio collaborations -- with vocalists Tony Bennett, Lambert, Hendricks & Ross, and Billy Eckstine, plus arranger Neal Hefti. This 1958 date for Roulette was a rare chance for the orchestra to perform on its own, and listeners to hear how powerful the band could be when its concentration was undiverted. Of course, Basie's band already possessed three fine arrangers (Frank Foster, Thad Jones, and Frank Wess) and at least a dozen solo voices. Each of the ten songs on Chairman of the Board were originals by Foster, Jones, Wess, or Ernie Wilkins, all of them arranged by the composer. The record is admittedly heavy on the blues, but it's a brassy, powerful vision of the blues; Foster's "Blues in Hoss' Flat" and Wilkins' "Kansas City Shout" take the band back to its hometown, beginning with a subtle swing but ending with a raucous display of power from each section. The contributions by Jones and Wess provide a necessary complement to that forceful swing. Jones' "Speaking of Sounds" employs the woodwinds to provide color and texture, while Wess' "Segue in C" relies on bassist Eddie Jones and Basie's piano to lead the band while Wess himself takes several choruses on alto sax. A dynamic date, it shows the "new testament" edition of Basie's orchestra in top form. ~John Bush

Chairman Of The Board

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Kristine Mills - Bossanovafied

Bitrate: 320K/s
Time: 34:23
Size: 78.7 MB
Styles: Bossa Nova
Year: 2009
Art: Front

[4:03] 1. I Wish
[3:45] 2. That Was Yesterday
[4:34] 3. Sweet Sorrow 2
[5:06] 4. Sasha's Lullaby
[4:51] 5. Burden Of Choice
[3:33] 6. Fallin' In Love
[4:24] 7. You Are
[4:05] 8. Inspiracao

Brazil has a very special allure—not only for the Bacchanalian enjoyment of its Carnival in Rio, but for artists as well. Swinging musicians from all over North America have found the rhythmic seduction of the samba and the urbane swish and sway of bossa nova quite irresistible for decades. Lately, however, North American musicians appear to have discovered that seduction alone is not the prerequisite for making music in an authentic Brazilian idiom, even in the most popular one of all: the bossa nova.

Houston-born vocalist Kristine Mills is one of those North American musicians who has shown she can sashay with the best, with a moving record soaking in the spirit of Brazil's most popular urban export: bossa nova. The appropriately entitled Bossanovafied is a short yet beautiful collection of songs done in the rhythm of this urban mélange of jazz and samba, made internationally popular by Joao Gilberto, Vinicius de Moraes and Antonio Carlos Jobim. Mills and musicians like her appear to have also been influenced by a slew of other more contemporary musicians from Brazil's tropicalia movement.

Mills sings with child-like charm, recalling the guileless wonder of Blossom Dearie's annunciation and phrasing. Despite a flatter, slightly oblique attack, Mills' lyrical approach is to soak the words and phrases in the emotion of their poetry. Her sense of tone is sharp, and she can make subtle changes in inflection to alter the color of the song, with minute changes in breath or dallying over end-words or phrases to create just the effect she wants. ~Raul D'Gama Rose

Bossanovafied

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Patrick Saussois & Rhoda Scott - The Look Of Love (A Tribute To Burt Bacharach)

Bitrate: 320K/s
Time: 55:27
Size: 127.0 MB
Styles: Soul jazz, Gypsy jazz
Year: 2010
Art: Front

[3:34] 1. The Look Of Love
[4:12] 2. Alfie
[5:20] 3. Walk On By
[4:09] 4. Wives And Lovers
[4:12] 5. Don't Make Me Over
[3:03] 6. Raindrops Keep Fallin On My Head
[5:04] 7. Close To You
[6:12] 8. I Will Never Fall In Love
[4:24] 9. This Girl Is In Love With You
[4:29] 10. What The World Needs Now Is Love
[6:45] 11. A House Is Not A Home
[3:58] 12. Don't Go Breaking My Heart

I stand at the forefront of Jazz Manouche. As a musician he is one of the few able to navigate between styles and genres, whether it's playing bebop with Richie Cole, musette with Jo Privat or jazz Manouche with my own band, Alma Sinti, never letting one style bleed into the other and always maintaining my own identity. It is with the latter group that I has risen above the rest of my contemporaries. Alma Sinti uses Jazz Manouche as a base to incorporate swing, Latin, bop and valse Manouche and musette all without losing their unique guitar/accordion driven sound and all supported with “le pompe”, the Manouche style of rhythm guitar that gives the music its unique flavor. A gifted and prolific composer and improviser par excellence whose originals “Jojo Swing” and “Just One for Babik” have become standards in the jazz Manouche lexicon. I am at the top of a very short list of Jazz Manouche's most important and respected players. My record company, Djaz Records has released a slew of acclaimed CD's highlighting some of today's finest artists including Dorado and Tchavolo Schmitt and Dino Mehrstein. They swing- three guitarists, acoustic bassist, and button accordionist - offer a heady mix of tzigane (music in the gypsy style), musette (post-1910, accordion-driven music played for public balls), and jazz associated with Belgian gypsy guitarist Django Reinhardt , Stephan Grappelli and the Quintette du Hot Club de France during the '30s and '40s. I am perhaps best known for my work with accordionists, having in the past accompanied the late great accordion legend Jo Privat for years, and later he has collaborated with other fine players of piano des bretelles, like Jean-Claude Laudat and Daniel ... ~ All About Jazz

The Look Of Love (A Tribute To Burt Bacharach)

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John Bunch - Do Not Disturb

Bitrate: 320K/s
Time: 71:24
Size: 163.4 MB
Styles: Post bop, Standards, Piano jazz
Year: 2010
Art: Front

[6:56] 1. John's Bunch
[6:37] 2. Doxy
[2:43] 3. Bill
[6:30] 4. Do Not Disturb
[2:57] 5. My Ideal
[6:28] 6. Anthropology
[5:40] 7. I've Just Seen Her
[5:01] 8. Four
[3:11] 9. My Man's Gone Now
[6:20] 10. In Your Own Sweet Way
[6:03] 11. Come Sunday
[6:22] 12. You're My Everything
[6:29] 13. Get Out Of Town

While veteran jazz pianist John Bunch has always been of the swing era, he readily embraces bebop, the music of Duke Ellington and Dave Brubeck, and great show tunes. With a trio of guitarist Frank Vignola and bassist John Webber and no drummer, Bunch envisioned this combo ten years prior, recorded but did not release a session with them, and he revisits this format in 2009 with a wonderful result. Vignola fits perfectly with Bunch's highly melodic ideas, and gets him to improvise or accompany more than most "leaders," while they swim effortlessly through these timeless and full-bodied melodies of familiar mainstream jazz tunes and ballads. You might not expect Bunch to be adept at boogie-woogie, but there it is on the opening track, his original "John's Bunch," nor might you expect him to do a note-for-note perfect version of Charlie Parker's "Anthropology" in lockstep with Vignola. He unearths the title track, an Ellington blues/ballad, and pristinely interprets "Come Sunday," while versions of "Four" and "Doxy" are as laid-back and simplified as a relaxing day at the beach. There's absolutely no forced movement on Do Not Disturb, but rather an effortless swing and good feelings between these three excellent musicians, a testament to Bunch's long-lasting viability in authentic and substantive jazz modes. ~Michael G. Nastos

Do Not Disturb

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Janis Siegel - I Wish You love

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 48:21
Size: 111,6 MB
Art: Front

(4:48)  1. Just A Little Lovin'
(2:38)  2. I Want You To Be My Baby
(4:52)  3. Go Away Little Boy
(5:05)  4. Dream A Little Dream Of Me
(3:39)  5. The Late Late Show
(5:05)  6. Don't Go To Strangers
(5:56)  7. The Masquerade Is Over
(4:43)  8. Where Are You?
(3:24)  9. Guess Who I Saw Today?
(4:28) 10. I Wish You Love
(3:38) 11. The Big Hurt

Janis Siegel has to be the envy of many singers on today's scene. She commands two performing platforms; one as a member of the popular singing group Manhattan Transfer and the other as a soloist which she has been since 1987. Her latest solo release, this time for the Telarc label, is devoted to songs made popular (or almost popular) by other female performers, not all of whom were singers. She is joined by a top rated trio of Cedar Walton, David Williams and Winard Harper who anchor the session. They are also joined from time to timeby the likes of David "Fathead" Newman on tenor, Tom Harrell on trumpet and Bill Ware on vibes. Sometimes you have to dig deep to recall the female who was connected with each tune. The female associated with "I Want You to Be My Baby" was Lillian Briggs, who supplemented her trombone playing career with a job driving a laundry truck. Siegel is joined on this fun cut by a singing group with another unlikely moniker, Baby Konehead and Her Fatty Tumors. 

Then there are the Chordettes who made a name for themselves as part of the old Arthur Godfrey show who came up with their biggest hit "Mr. Sandman". I just wish Siegel had seen fit to not make this track such a big production and sang it simply. But it is clever how she interpolates the tune with the other half of the medley, "Dream a Little Dream of Me". One of the wildest tracks is "The Masquerade Is Over" which features Newman's tenor as well as his soaring flute playing and Siegel scatting. Every track is a pleasure to listen to as you remember which lady first sang that song. But this little game does not detract an iota from Siegel's consummate artistry and of those she brought into the studio with her. This is A-one graded stuff. ~ Dave Nathan   http://www.allaboutjazz.com/i-wish-you-love-janis-siegel-telarc-records-review-by-dave-nathan.php#.U3upnSi9a5w

Personnel: Janis Siegel - Vocals/Backup Vocals; Cedar Walton - Piano; David Williams - Bass; Winard Harper - Drums; Bill Ware - Vibes; Baby Konehead and her Fatty Tumors, Aaron Franz - Vocals; David "Fathead" Newman - Tenor Sax/Flute; Frank Colon - Wind Chimes/Congas; Roger Treece, Lincoln Briney, - Background Vocals; Tom Harrell - Trumpet /Flugelhorn

I Wish You love

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Celia Berk - You Can't Rush Spring

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 51:59
Size: 120,0 MB
Art: Front

(2:40)  1. I've Been Waiting All My Life
(4:51)  2. Penthouse Serenade / Stairway to the Stars
(3:50)  3. Friendly Star
(2:34)  4. You're All the World to Me
(2:42)  5. Sometimes I'd Dream
(4:15)  6. Sand
(2:56)  7. This Dream
(3:57)  8. It's the Strangest Thing
(5:39)  9. The Folks Who Live On the Hill
(3:36) 10. Go, My Love
(2:54) 11. Rain Sometimes
(3:22) 12. You Can't Rush Spring
(6:09) 13. I'm Glad There Is You
(2:27) 14. The Broken Record

Warm, sophisticated and wise, this is music for a Manhattan penthouse under the stars, in the lushly orchestrated tradition of Sinatra, Streisand and Clooney.
You Can't Rush Spring is Celia Berk’s first solo album, arranged and conducted by Alex Rybeck and co-produced by Tony Award-winning sound designer Scott Lehrer. Influenced by the recordings of such iconic artists as Barbra Streisand, Barbara Cook, Lena Horne and Rosemary Clooney, it features a blend of familiar and lesser-known songs by Stephen Sondheim, Jerome Kern & Oscar Hammerstein II, Ann Hampton Callaway, Jimmy Dorsey, Kander & Ebb, Bricusse & Newley, Harry Warren & Mack Gordon and even J.S. Bach.  Even before its release, the album began attracting attention from some of the most prominent proponents of The Great American Songbook. 

Michael Feinstein said, "I so enjoy Celia's beautiful vocal sound and style, and her taste in song choices." Jonathan Schwartz added a selection to his playlist on WNYC/93.9 FM and The Jonathan Channel.org. Amanda McBroom described Celia’s style as “Splendid, unique and wonderful. Celia delivers the message and heart behind each song with velvet intelligence.” Ann Hampton Callaway, whose song serves as the title track, added, “It's so lovely what Celia Berk did with my song You Can’t Rush Spring, with its lilting soft swing feel and the tender breeze of guitar. You can almost feel the crocuses and daffodils starting to bloom!" In addition to recording, Celia frequently appears in and around New York, often under the auspices of Broadway Concerts Direct. Together with Rich Flanders, she also performs Double Standards, a program of duets and personal favorites.  http://www.cdbaby.com/cd/celiaberk

You Can't Rush Spring

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Saxophone Summit - Gathering of Spirits

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 65:54
Size: 151,1 MB
Art: Front

( 6:51)  1. Alexander The Great
( 9:56)  2. The 12th Man
(14:14)  3. India
( 5:05)  4. Peace On Earth
(17:29)  5. Tricycle
(12:16)  6. A Gathering Of Spirits

The spirit of John Coltrane looms heavy over the proceedings of Saxophone Summit: Gathering of Spirits , where saxophonists Michael Brecker, Dave Liebman and Joe Lovano commit to disc the occasional grouping that they have participated in since '96. The result is something a little surprising in this era of "super groups": a trio whose collective whole is clearly greater than the sum of the parts, representing an uncompromising ensemble that gets more exciting and adventurous as the one hour set progresses. Making it easy to differentiate the players by placing them in specific aural positions Lovano on the left, Liebman in the centre and Brecker on the right what becomes increasingly apparent over the course of the programme is exactly how influential Coltrane has been on all three players. And yet, that being said, each player has taken that influence and developed something distinctly personal and unique. There is absolutely no mistaking each player, regardless of where they are positioned in the mix. Probably the most overtly informed is Liebman, who is arguably the foremost proponent of the soprano saxophone performing today, and plays the straight horn on three of the six tracks. Brecker's roots are also in evidence, although he has developed so many identifiable signatures that, like Liebman, comparisons ultimately become meaningless; still, both players clearly lean towards the expressionistic "sheets of sound" approach that Coltrane first introduced. Less direct is Lovano, whose style is as much Dexter Gordon's richness and Sonny Rollins' lyrical elegance and dignity as it is Coltrane's boldness. 

Starting the set with Lovano's reworking of "Bye Bye Blackbird," "Alexander the Great" gives the players, ably supported by pianist and long-time Liebman associate Phil Markowitz, bassist Cecil McBee and drummer Billy Hart, a chance to warm up before heading into more Coltrane-esque modal territory on Markowitz's 7/4 piece, "The 12th Man." Coltrane's "India" is reharmonized, using the cycle of fourths to draw richer harmonies from the simple theme than Coltrane likely envisioned. "Peace on Earth" is a rubato tone poem that is a moving tribute to Coltrane's more spiritual side. But the most risks are taken on the last half of the set. The seventeen-minute "Tricycle" was written by Liebman to give the rhythm section a chance to develop unencumbered a capella solos, and give the three saxophonists different musical contexts over which to solo a rubato section for Liebman, a free-time section for Lovano's alto clarinet, and a burning in-time duet for Brecker with Hart. Opening with all three horns in full-out multiphonics mode, Brecker's title track finishes the album with a series of bare structures that serve as rallying points for free excursions from everyone involved. Saxophone Summit proves that an idea with some commercial appeal doesn't have to sacrifice integrity or free-spiritedness. Brecker, Liebman and Lovano have crafted an album that easily stands amongst the best recordings of their collective careers, and makes one hope this isn't just a one-time affair. ~ John Kelman   http://www.allaboutjazz.com/saxophone-summit-gathering-of-spirits-dave-liebman-telarc-records-review-by-john-kelman.php#.U3a8zii9a5w

Personnel: Michael Brecker (tenor saxophone, kaval), Dave Liebman (tenor and soprano saxophones, Indian flute), Joe Lovano (tenor saxophone, alto clarinet, tarogato)

Saxophone Summit: Gathering of Spirits

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Thilo Wolf Big Band - Love Me Gershwin

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 53:33
Size: 122,8 MB
Art: Front

(3:37)  1. Nice Work If You Can Get It
(2:37)  2. They Can't Take That Away from Me
(5:00)  3. The Man I Love
(3:33)  4. S'wonderful
(3:42)  5. I Was Doin' Alright
(4:03)  6. I've Got a Crush On You
(2:48)  7. Somebody Loves Me
(2:58)  8. Delishious
(4:20)  9. Embraceable You
(3:37) 10. Our Love Is Here to Stay
(3:04) 11. Strike Up the Band
(5:07) 12. But Not for Me
(1:36) 13. Walkin' The Dog
(5:06) 14. Do What You Do
(2:16) 15. I Got Rhythm

Always keep open eyes and ears a credo that accompanies the Big Band of the Fürthers Thilo Wolf for 20 years now. Variability seems to move through the everyday life of 45-year-olds in all respects: As a leader of a big band who engages on Latin arrangements as well as playing cameos in musical atmosphere or as a musical composer and arranger Thilo Wolf received his musical accomplishments versatile. But this is just a large constant of his daily life, its own advertising and marketing operation leads the graduate businessman as well. As a young accordionist come through a spontaneous note purchase his father with the music Gershwin in contact, drum lessons with Charly Antolini, first big-band arrangements in adolescence a guide for Thilo Wolf's musical career in the direction of symphonic jazz already distinguished themselves from a young age. 1992 follows a big step: setting up your own Big Band and line the same as Television Orchestra in BR format "Swing It" a childhood dream of now at the piano, the band conducting wolf is realized. The possibility, some with well-known names of the scene to present their music in the context of the ongoing television coverage, Wolf is still one of the biggest success and key experiences of his career. 

The cooperation also in the anniversary year levels, the BR devoted to the band in 2012 numerous formats. Performances at the Bavarian Film and Television Award, the records of the anniversary concerts and a portrait of the big band could be seen in the current year in the program, the latter will be broadcast again on July 22. Even beyond the television stage rests the band in the anniversary year not: In June, the double-CD "Big Band fed up" with Latin grooves and original, the musical "Love me Gershwin" comes to reissue, connected to the same CD. In addition, Thilo Wolf has again operated in the role of composer and arranger for the musical stage, "Death in the Tower" celebrated this May as part of the International Hansa Lüneburg in Premiere. A "cross-over" by the genre, the Thilo Wolf not want to miss. One must "go with open eyes through the scene and also pay attention to things that do not seem typical." To scenic As musical director of "Love Me Gershwin," the seasoned instrumentalists or to make singing performers of musical theater to design as an arranger and composer, musical-compatible pop music, the big band repertoire to expand a rock band or a solo bassoonist: These things accompany Thilo Wolf this year, and just for that one must be always awake and spontaneously. So is 2013 a cooperation with the Nuremberg Symphony Orchestra at the detailed planning, such cooperation outside the studio still lacks in the "Collection". 

To targeted implement their own projects, Thilo Wolf is since last year, also owner of the specially founded Wave House Studios. But a studio exclusively for its own use, it should not be, but also a focal point for musicians with good ideas, a way to professionally produce good music - not fear associated with the willingness of the owner, in budget issues the call. In short, another major project of the CEO and big band leader  in this case, in the role of promoter - who wants to look at this multiple taxation not counterproductive. As radio big bands the fixed budgeting, so he had the opportunity, to a certain extent to sponsor themselves and enjoy the freedom in the artistic sense of not having to consider any concerns regarding the financial and existential component. Probably a good position to "easy to make" sometimes. ~ Benjamin Burkhart   http://www.jazzzeitung.de/jazz/2012/03/portrait-thilo-wolf.shtml  (translate by google)

Love Me Gershwin

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