Angelique Beauvence - Let There Be Love

Bitrate: 320K/s
Time: 47:45
Size: 109.3 MB
Styles: Vocal jazz
Year: 2002
Art: Front

[2:41] 1. Let There Be Love
[3:16] 2. My Funny Valentine
[3:34] 3. Softly As In The Morning Sunrise
[3:57] 4. More
[3:18] 5. Come Rain Or Come Shine
[1:53] 6. Great Day
[3:07] 7. How Deep Is The Ocean
[2:34] 8. What Do You See In Her
[4:01] 9. Loverman
[2:23] 10. After You've Gone
[1:31] 11. For Me And My Gal
[2:01] 12. Trolley Song
[2:56] 13. The Nearness Of You
[2:27] 14. Smile
[3:57] 15. Send In The Clowns
[4:02] 16. I'm A Fool To Want You

Angelique was raised in the south of the Netherlands. Because she has moved around for most of her life, her experience of different cultures has most certainly influenced her music. Her links to gipsy roots and her strong beliefs in a more just world play a fundamental part in her professions as songwriter, producer, actress, musician, coach, and artist. Apart from her own projects, Angelique is very much in demand as a guest singer for the recordings and performances of a remarkably wide range of musicians.

Angelique followed several courses in classical singing and a professional and private tutorial at the University for Performing Arts in The Hague and Zwolle. Combined with her daily studies she did an extensive course ‘Method Acting’, tutored by Mr. Clif Sutton in Amsterdam.

Let There Be Love

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Ted McNabb & Co. - Big Band Swing

Bitrate: 320K/s
Time: 33:04
Size: 75.7 MB
Styles: Swing
Year:1984/2012
Art: Front

[2:55] 1. Mountain Greenery
[2:43] 2. I'll Never Say Never Again Again
[2:07] 3. Blue Moon
[2:26] 4. Margie
[2:40] 5. That Old Feeling
[2:49] 6. Have You Met Miss Jones
[2:22] 7. Lover
[3:22] 8. You're My Thrill
[2:36] 9. It Had To Be You
[2:41] 10. Three Little Words
[3:32] 11. Spring Is Here
[2:46] 12. Close As Pages In A Book

One of the finest (and rarest) big band recordings of the late 1950s is Ted McNabb & Co. for Columbia's Epic label. Arranged and conducted by Marion Evans, the session was recorded over three days in November 1959 and featured the cream of the New York studio scene.

On the date were Burt Collins, Bernie Glow, Doc Severinsen, John Bello (tp); Sy Berger, Frank Rehak, Urbie Green, Dick Hixson (tb); Dick Meldonian, Gene Quill (as); Al Cohn, Zoot Sims (ts); Sol Schlinger (bar); Nat Pierce (p); Barry Galbraith (g), Milt Hinton (b) and Osie Johnson (d). When a few musicians couldn't make it for the second and third dates, Al Derisi and John Frosk (tp), Herb Geller (as), John Drew (b) and Don Lamond (d) stepped in. Not too shabby.

But who exactly was Ted McNabb? The notes on the reverse side of the LP simply say that McNabb had long-time ambitions to record such an album and as a youngster had studied piano, clarinet and drums. Not only isn't McNabb listed anywhere else on the album, he isn't listed in any jazz discography. Hmmm. A pseudonym?

Big Band Swing

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Halie Loren - Heart First

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 61:23
Size: 140,9 MB
Art: Front

(3:47)  1. Taking A Chance On Love
(3:41)  2. A Woman's Way
(2:59)  3. C'est Si Bon
(4:59)  4. Waiting In Vain
(3:45)  5. Sway / Quien Sera
(3:14)  6. Heart First
(4:03)  7. My One And Only Love
(4:10)  8. Feeling Good
(4:31)  9. Tender To The Touch
(3:32) 10. Fly Me To The Moon
(3:18) 11. Lotta Love
(3:36) 12. In Time
(2:54) 13. Smile
(3:49) 14. Crazy Love
(4:03) 15. Ellie My Love
(4:54) 16. What A Wonderful World

Though vocalist Halie Loren has made a name for herself by bringing her warm and inviting alto to bear on a mixture of pop and jazz classics, she has received far too little attention in the United States. Much of the praise heaped upon her comes from Japan, where her fan base is strong and plentiful, but this Alaska-born, Eugene-based beauty may finally be able to make major inroads in the U.S. market with Heart First. This fourteen-track program is heavy on the heart theme, her diverse material drawn from disparate sources that fit this overall concept. Nevertheless, it all comes together to perfection. Depending on the song, Loren can be sweet, sly, or sultry, but she always finds the right read. All of the covers on Heart First have been done ad infinitum, but Loren's ability to find something new in the old makes this a fun ride. 

She finds the middle ground between Bob Marley's impassioned delivery and Annie Lennox's pop sheen on "Waiting In Vain," strips "Sway (Quién Será)" to its seductive core, and removes any hint of Eartha Kitt from "C'est Si Bon." "All Of Me," underscored by a slow burning bass and tom groove, receives a reading that's far more provocative than the norm. In Loren's able hands, Neil Young's twang is nowhere to be found on his "Lotta Love," which sounds like a cross between a Michael Buble pop hit and "Everyday Is A Holiday (With You)" from Esthero and Sean Lennon. While innovation is present in many of the arrangements, Loren doesn't mess with some standards on some standards. "Taking A Chance On Love" and "My One And Only Love" both receive fairly routine deliveries, giving the young vocalist a chance to shine in a more straightforward manner. 

While Loren's talents as a songwriter are downplayed here (there are only four originals sprinkled amongst the fourteen tracks), she does make an impact with her self-penned pieces. "In Time," the most moving of Loren's originals, crosses Hem-like serenity with a Sophie Milman-leaning sound, while the title track mixes country inflections with traces of barroom informality. "Tender To The Touch," with its strong R&B influence, is the most pop-leaning of the bunch, and the album-opening "A Woman's Way" proves to be the most breezy, in music if not in words. The backing band on this album does a fine job throughout, even if it largely serves as window dressing for Loren. Pianist Matt Treder, who regularly brings class, charm and his own instrumental voice into the picture, and trumpeter Rob Birdwell, who makes an impact with only a scant presence on a few tracks, are the notable exceptions. Heart First should help to elevate Halie Loren's profile on the home front. She's deserving of more attention, and this record is pure magic. ~ Dan Bilawaky  http://www.allaboutjazz.com/heart-first-halie-loren-justin-time-records-review-by-dan-bilawsky.php#.U8ipd7FryM0
 

Personnel: Halie Loren: vocals, piano (12); Matt Treder: piano, Rhodes piano; Mark Schneider: bass; Brian West: drums; William Seiji Marsh: guitar; Sergei Teleshev: accordion (1), button accordion (13); Rob Birdwell: trumpet (2), flugelhorn (4, 11); Hank Shreve: harmonica (7); Dale Bradley: cello (12).

Heart First

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Charles Tolliver Big Band - Emperor March: Live At The Blue Note

Styles: Trumpet Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 61:35
Size: 141,1 MB
Art: Front

(13:34)  1. On The Nile
( 7:06)  2. I Want To Talk About You
(13:51)  3. Emperor March
( 5:35)  4. Chedlike
(10:02)  5. In The Trenches
(11:24)  6. Toughin'

With Love (Blue Note, 2007) chronicled the return of the Charles Tolliver Big Band, one of the most progressive big bands of the Post-War years. Inspired in part by the vibrant creative energy of the burgeoning Loft Scene, trumpeter Tolliver and pianist Stanley Cowell's cooperatively led big band was immortalized by two landmark records, Music Inc. & Big Band (Strata-East, 1970) and Impact (Strata-East, 1975). After a quartet reunion gig with Cowell in 2002, Tolliver was encouraged by fellow trumpeter David Weiss to reconvene the legendary big band. Emperor March: Live at the Blue Note marks the first live recording of the newly revived ensemble, documenting two nights at the famed New York jazz club of the same name. 

Consisting of new compositions, a venerable cover, and classics from the Strata-East days, Tolliver's multi-generational band burns with a fervor typical of younger groups. Incorporating an exhilarating mix of interlocking layers, sudden tempo shifts, and dramatic mood changes, this veteran ensemble negotiates Tolliver's cantilevered charts with the graceful fluidity of a unit a fraction its size. The exotic "On The Nile" opens the set, culminating in an explosive statement from tenor saxophonist Marcus Strickland that scales Coltrane-esque heights of expressionism before spotlighting Cowell's jaunty runs and Tolliver's penetrating cadences. Tenor saxophonist Billy Harper unveils his own take on post-Coltrane tradition on a stirring interpretation of "I Want To Talk About You," complete with a harmonically bold cadenza. The title track was inspired by the film March of the Penguins, which documents the almost insurmountable odds faced by Emperor Penguins to persevere in a hostile environment. Unveiling a series of opulent theme and variation based solos, the tune's driving march rhythm is enriched by a mellifluous horn chart dominated by flutes and trombones. 

The same dulcet instrumental tonalities drive "Chedlike," a swinging ode to Tolliver's son Ched, with a lyrical contribution from the leader. "In The Trenches" and "Toughin'" are staples of Tolliver's quartet, Music, Inc., with the former a punchy blues and the latter a brisk swinger featuring most of the band in brief, boisterous solo spots. Emperor March: Live at the Blue Note is a welcome reminder of the visceral intensity a contemporary big band can generate. Bolstered by intricate arrangements and dynamic writing, this live set captures Tolliver's big band in all its glory. ~ Troy Collins  http://www.allaboutjazz.com/emperor-march-live-at-the-blue-note-charles-tolliver-half-note-records-review-by-troy-collins.php#.U8ljcbFryM0

Personnel: Charles Tolliver: trumpet; Michael Williams: lead trumpet; Keyon Harrold: trumpet; Cameron Johnson: trumpet; David Weiss: trumpet; Mike Dease: trombone; Stafford Hunter: trombone; Jason Jackson: trombone; Ernest Stuart: trombone; Aaron Johnson: bass trombone; Bill Saxton: tenor saxophone, soprano saxophone, clarinet, flute; Bruce Williams: alto saxophone, soprano saxophone, clarinet, flute; Todd Bashore: alto saxophone, flute, piccolo; Billy Harper: tenor saxophone; Marcus Strickland: tenor saxophone; Jason Marshall: baritone saxophone, bass clarinet; Stanley Cowell: piano; Anthony Wonsey: piano; Reggie Workman: bass; Gene Jackson: drums.

Emperor March: Live At The Blue Note

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Teddy Bunn & Spencer Williams - Teddy Bunn 1929-1940

Styles: Vocal And Guitar Jazz
Year: 1930
File: MP3@224K/s
Time: 73:37
Size: 118,2 MB
Art: Front

(3:10)  1. The Chicken and The Worm
(2:51)  2. It's Sweet Like So
(3:20)  3. Pattin' Dat Cat
(3:09)  4. Tampa Twirl
(3:00)  5. Goose and Gander
(3:03)  6. The New Goose and Gander
(3:18)  7. Clean It Out
(3:08)  8. Blow It Up
(3:01)  9. Crooked World Blues
(3:06) 10. Swingin' For Mezz (Careless Love): Take 2
(3:00) 11. Royal Garden Blues: Take 2
(2:23) 12. Everybody Loves My Baby: Take 2
(2:53) 13. I Ain't Gonna Give Nobody None of My Jelly Roll: Take 2
(2:57) 14. If You See Me Comin': Take 2
(2:52) 15. Gettin' Together: Take 1
(2:44) 16. Brownskin Gal Is The Best Gal After All
(2:47) 17. Voo Doo Blues
(3:11) 18. King Porter Stomp
(3:03) 19. Bachelor Blues
(3:09) 20. Blues Without Words (Take A)
(3:38) 21. Blues Without Words (Take B)
(3:13) 22. Guitar in High
(3:29) 23. Doggin' That Thing
(3:04) 24. Yo Yo

Teddy Bunn was one of the finest acoustic jazz guitarists of the 1930s, although he had relatively few opportunities to be showcased on record. This CD (from the Austrian RST label) features Bunn on a series of hokum vocal duets with Spencer Williams (Clarence Profit or James P. Johnson provide the piano accompaniment); backing singers Buck Franklin, Fat Hayden, and Walter Pichon; jamming with clarinetist Mezz Mezzrow and trumpeter Tommy Ladnier (six alternate takes from the famous Panassie Sessions); and leading a session of his own. The latter (which is also included on a Mosaic box set) features Bunn on two memorable unaccompanied guitar solos and on three occasions (including an alternate take of "Blues Without Words") backing his own vocals. It is strange that Bunn recorded so rarely after 1940, for he lived until 1978. This is his definitive set. ~ Scott Yanow  http://www.allmusic.com/album/teddy-bunn-1929-1940-mw0000060171

Personnel: Teddy Bunn (vocals, guitar); Walter "Fats" Pichon (vocals, piano); Spencer Williams (vocals); Mezz Mezzrow (clarinet); Sidney DeParis, Tommy Ladnier (trumpet); Clarence Profit, Sam Price (piano); Manzie Johnson, Zutty Singleton (drums); Bruce Johnson (washboard).

Recording information: New York, NY (09/16/1929-03/28/1940).

Teddy Bunn 1929-1940

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Melba Liston - Melba Liston & Her Bones

Bitrate: 320K/s
Time: 50:55
Size: 116.6 MB
Styles: Bop, Trombone jazz
Year: 2011
Art: Front

[4:41] 1. Zagred This
[2:30] 2. The Trolley Song
[3:24] 3. Insomnia
[3:54] 4. You Don’t Say
[4:56] 5. Christmas Eve
[5:04] 6. Never Do An Abadanian
[4:20] 7. Very Syrian Business
[4:17] 8. What’s My Line Theme
[3:18] 9. The Dark Before The Dawn
[6:27] 10. Blues Melba
[4:00] 11. Pow!
[3:57] 12. Wonder Why

Finding an obscure recording, especially one of quality, can be exciting for jazz enthusiasts. This reissue of Melba Liston's only recording as a leader, originally released by the short-lived Metro Jazz label half a century ago, is cause for celebration. The reissued Melba Liston and Her 'Bones also includes four tracks from another session which was originally released under Frank Rehak's name.

Melba Liston is best known as an arranger and composer, thanks to her associations with Dizzy Gillespie and subsequently Randy Weston. But she was a virtuoso trombone player as well. On this recording she joins a variety of other trombonists, including Bennie Green, Al Grey, and Benny Powell (three tracks); Jimmy Cleveland, Frank Rehak and Slide Hampton (five tracks); and Frank Rehak (the four bonus tracks). The leader's interplay with the other trombone players adds to the musical richness of the recording.

Even in the company of high-quality, accomplished master musicians like these, her musical skills stand out. Her lyrical improvisations are melodic, clear and gay when she plays unmuted, and mysterious and warm when muted. This recording is one of the few places to hear Melba Liston solo, in addition to two tracks on Ernie Henry's Last Chorus (Riverside, 1958) and a beautiful solo on "My Reverie with the Dizzy Gillespie Orchestra.

This hard-swinging music is firmly planted in the bop tradition, enhanced by the playing of Marti Flax (baritone sax) and Kenny Burrell (guitar) on specific tracks. Melba Liston's playing matches her compositional skills; she wrote four of the twelve pieces, and they shine with originality. Liston has long been ignored as a composer and horn player, in large part due to gender bias, and so this reissue is long overdue—not just because of its historical value, but also the quality of the music. ~HRAYR ATTARIAN

Melba Liston, Bennie Green, Al Grey, Benny Powell: trombone; Kenny Burrell: guitar; George Joyner: bass; Charlie Persip: drums (3,6,7). Melba Liston, Jimmy Cleveland, Frank Rehak: trombone; Slide Hampton: trombone, tuba; Ray Bryant: piano; Frank Dunlop: drums (1,2,4,5,8). Melba Liston, Frank Rehak: trombone; Marty Flax: baritone saxophone; Walter Davis Jr.: piano; Nelson Boyd: bass; Charlie Persip: drums (9-12).

Melba Liston & Her Bones

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Artie Shaw - The Artistry Of Artie Shaw & His Bop Band

Bitrate: 320K/s
Time: 55:12
Size: 126.4 MB
Styles: Big band
Year: 2000/2006
Art: Front

[3:21] 1. Smooth And Easy
[3:18] 2. Krazy Cat
[3:42] 3. Afro-Cubana
[3:39] 4. Stardust
[4:06] 5. Fred's Delight
[3:25] 6. I Get A Kick Out Of You
[3:47] 7. Mucho De Nada
[3:12] 8. I Cover The Waterfront
[3:00] 9. 's Wonderful
[3:25] 10. Similau
[3:41] 11. Aesop's Foibles
[2:52] 12. They Can't Take That Away From Me
[3:22] 13. So Easy
[3:06] 14. Carnival
[2:39] 15. Orinoco
[4:30] 16. Innuendo

In 1949, just before he was about to start yet another big band, Artie Shaw made the following statement: "We'll find an identity. Perhaps it would be fairer to say I'll find one. Sooner or later all bands that stick find an identity, and find it through their leader. All the sounds -the creative arrangements, the pop tunes and the originals - must be channelized through the leader."

And on September 14, 1949 Artie Shaw was back on the bandstand, opening at Symphony Hall, Boston. The band's book contained both old and new material, and it was the first time Shaw had gone on the road with a band for many years. The 1949 band features a mixture of numbers associated with the Shaw bands of the early 40's and some in a more modern vein from new writers/arrangers such as Tadd Dameron, Johnny Mandel, Gene Roland and George Russell, with the more exotic Latin sounds coming from the pen of John Bartee.

Artie Shaw (leader, cl) with Don Paladino, Don Fagerquist, Dale Pierce and Vic Ford (tp), Sonny Russo, Fred Zito, Ange Callea and Porky Cohen (tb), Herb Steward and Frank Socolow (as), Al Cohn and Zoot Sims (ts), Danny Bank (bars), Gil Barrios (p), Jimmy Raney (g), Dick Niveson (b), Irv Kluger (d)

The Artistry Of Artie Shaw & His Bop Band

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Rita Lee - Balacobaco

Bitrate: 320K/s
Time: 46:20
Size: 106.1 MB
Styles: Ballads, Bossa Nova
Year: 2003
Art: Front

[3:37] 1. Amor E Sexo
[3:47] 2. A Fulana
[3:39] 3. As Mina De Sampa
[3:44] 4. Copacabana
[4:35] 5. B A L A C O B A C O
[3:32] 6. Ja Te Falei
[4:14] 7. Nave Terra
[4:17] 8. A Gripe Do Amor
[3:41] 9. Tudo Vira Bosta
[3:06] 10. Eu E Mim
[3:41] 11. Over The Rainbow
[4:22] 12. Hino Dos Malucos

Rita Lee is one of Sao Paulo's best known daughters. Initially with the seminal band Os Mutantes during Tropicalia,and later with the band Tutti Frutti, Lee went on his own teamed with husband Roberto in the mid 1970s. Most of her subsequent works were top notch spawning Brazilian rock classics such as DOCE VAMPIRO,ALO MARCIANO & BALADA DO LOUCO. Her latest work,BALACOBACO features ballads (the hit AMOR E SEXO) and other songs that range from bossa nova such as COPACABANA BOY to a more uptempo song like As Mina DE SAMPA. The quality of arrangements,instrumentation and vocals are simply amazing. ~Antonio M Vazquezpausa/amazon

Balacobaco

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Joni Janak - The Wind

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 71:50
Size: 165,6 MB
Art: Front

(5:13)  1. The Wind
(3:44)  2. Chega de Saudade (No More Blues)
(6:25)  3. Where Do You Start?
(7:22)  4. I Concentrate on You
(5:35)  5. Night Town
(4:49)  6. With a Song in My Heart
(7:20)  7. Close Enough for Love
(6:49)  8. I Have a Feeling I've Been Here Before
(4:44)  9. The Way You Look Tonight
(6:22) 10. Trouble with Hello Is Goodbye
(3:58) 11. Only You
(3:32) 12. Cinnamon & Clove
(5:51) 13. Music Is Forever

Born and raised in Amarillo, Texas, vocalist Joni Janak attended college at Texas Tech University on a Vocal Scholarship. Her passion for music began when she was a youngster. With the attraction for the vocal style of Doris Day as her early influence, Joni soon journeyed into the world of jazz. Her innate talent was influenced by both belonging to a music-oriented family, as well as listening to the likes of Ella Fitzgerald, Sarah Vaughan, Dakota Staton, Ethel Ennis, Irene Kral, June Christy, and other singers - especially those fronting big bands. Her grandparents and parents owned, operated and taught in the Amarillo College of Music. In 1969, she moved to Denver, Colorado and has lived there since. She is considered to be The Song Stylist in that geographic location - and to the ears of many fans, The Singer of Choice throughout the world. 

Her reputation for excellence is heard in her performances, as well as on her recordings as a leader, Let's Live Again (JLECD- 44004), The Wind (JLECD-4123), and on Centerpiece Jazz' Get Outta Here! (JLECD-8400) on the Jazz Link Enterprises label. She is also featured on (drummer) Ron Moewes' CD, Ron Moewes and Friends: All This You Gave to Me (JLECD-6099). Additionally, she is heard on several of KUVO-89.3 FM 24-hour-a-day jazz radio station's live Performance Studio CDs that are compilations of musicians used for fund-raising premiums.

Performing professionally since age 13, she has worked and/or recorded with such notables as Carl Fontana, Stefan Karlsson, Marvin Stamm, Ed Soph, Tom Warrington, Ross Tompkins, Carson Smith, Bill Watrous, Andy Simpkins, Jake Hanna, Bob Cooper and Conte and Pete Candoli. She has worked with many musicians in Colorado, including Ellyn Rucker, Ron Moewes, Ed Stephen, Dean Ross, Dale Bruning, Rich Chiaraluce, Eric Gunnison, Jeff Jenkins, The Gordon Dooley Orchestra, Ken Walker, Roger Campbell, Mark Simon, Colin Gieg, The Hot Tomatoes, Dean Bushnell Big Band, and Paul Romaine.

Her first European tour occurred in Derry, Northern Ireland in 2001, followed by a highly acclaimed appearance during the Derry Jazz Festival in 2002. While there, she was a guest on several television and radio programs. In the United States, her CDs are played by syndicated radio hosts Bob Bednar, Bob Parlocha, Jim Wilke, and Ross Gentile. Collectively, these radio programs are heard in more than 100 cities throughout the United States, as well as being streamed from their websites world- wide. http://www.cdbaby.com/cd/janak2

The Wind

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Cyrille Aimée - It's a Good Day

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 43:03
Size: 99,7 MB
Art: Front

(2:46)  1. Where or When
(2:28)  2. It's a Good Day
(3:51)  3. Bamboo Shoots
(3:20)  4. Twenty-Eight
(3:16)  5. Caravan
(4:11)  6. Nuit Blanche
(3:30)  7. Young at Heart
(3:03)  8. Off the Wall
(2:33)  9. Love Me or Leave Me
(4:59) 10. One Way Ticket
(3:32) 11. Pourtant
(3:03) 12. All Love
(2:25) 13. Tricotism

It's A Good Day is the major label debut by the widely acclaimed young jazz singer Cyrille Aimée-yet another step forward for the rapidly rising vocalist. Winner of both the Montreux Jazz Festival's Vocal Competition and the Sarah Vaughan International Vocal Competition, Aimée explores a range of musical styles, eras, continents and moods on It's A Good Day (Mack Avenue) with a singular voice on inventive arrangements, produced by Fabrice DuPont (Shakira, Jennifer Lopez). Aimée's musical outlook is reflected in an emphasis on the guitar, an instrument with an indigenous form in nearly every culture of the world-and it was the sound of the gypsy guitar that inspired Aimée to become a musician. While growing up in Samois-sur-Seine, Aimée snuck out of her home to the nearby gypsy encampments and was mesmerized by the music of those who followed the spirit of Django Reinhardt, revered as one of the world's most influential guitarists. Aimée-who as a child also lived in Paris, Cameroon, Singapore and the Dominican Republic-later became fascinated with Brazilian guitar, and her music reveals a thorough understanding of bossa nova and samba idioms. 

She has now settled in Brooklyn, where she continues to absorb the inner workings of American jazz and the culture of the music's homeland. The musical accompaniment on It's A Good Day is as novel as Aimée herself: three guitars (Jazz, Gypsy and Brazilian) with bass and drums. This captivating multi-guitar sound is provided by her close collaborator, Michael Valeanu, a player of French and Italian extraction on a contemporary jazz-style electric guitar; her countryman Adrien Moignard on the steel-string guitar gypsies favor due to its piercing, staccato sound; and the Brazilian guitarist Guilherme Mont eiro, who relies on a nylon-stringed instrument which provides the bossa nova its soft and undulating sensuous sound. Thoughtful arrangements of the thirteen songs-both standards and originals-ensure a sumptuous musical blend. "We worked hard to create a road map for each guitar to make the sound beautiful and exciting-without creating a musical traffic jam," explains Aimée. The flexible and fluid rhythm section of bassist Sam Anning and drummer Rajiv Jayaweera holds it all together. Opening the album are two standards, an engaging version of Rodgers and Hart's "Where Or When," and the upbeat title track, "It's A Good Day," made famous by Peggy Lee. "Bamboo Shoots," an alluring original by Anning, somehow manages to sound gypsy, Hawaiian and pop-all at the same time. In the same vein, her arrangement of "Love Me Or Leave Me" has an original multi-cultural spin. "I was inspired to do a version of 'Love Me Or Leave Me' after hearing Nina Simone's recording," recalls Aimée, "and then I found the Billie Holiday version, and was further inspired." Seamlessly added to the mix are covers of Michael Jackson's "Off The Wall" and Duke Ellington's "Caravan." "Caravan was one of the first songs I ever learned," says Aimée, "and it was time to inject some fiery gypsy soul into it." 

That frame of mind found it to "Pourtant," a French pop song that was a hit for Vanessa Paradis, as well as "All Love," which began as an instrumental composition by the late guitarist Babik Reinhardt, the son of the legendary Django. "I heard this beautiful melody so many times, but when they played it at Babik's funeral, I asked for permission to put a lyric to it." It's A Good Day also features catchy original compositions by Aimée. Featured are "One Way Ticket"-the result of a trip to India, "Twenty-Eight" and "Nuit Blanche" ("White Night"), a French expression that refers to an inability to sleep while brooding over lost love. Oscar Pettiford's "Tricotism" is the zesty closer-almost an encore. How better to feature bassist Anning than in a jazz classic by one of the founding fathers of the modern jazz bass? Cyrille Aimée is an artist of many facets. Infused by a novel blend of multicultural influences, a vision for a unique sound and with a voice that is sublime, It's A Good Day makes for a great day for a wide array of lovers of music.  

http://www.criticaljazz.com/2014/06/cyrille-aimee-its-good-day-coming-81914.html

It's a Good Day

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Bobby Enriquez And Richie Cole - The Wildman Meets Madman

Styles: Jazz, World Fusion
Year: 1981
File: MP3@320K/s
Time: 43:53
Size: 100,7 MB
Art: Front

(6:15)  1. Groovin' High
(4:54)  2. Once In A While
(4:53)  3. Yardbird Suite
(6:52)  4. Wildman Blues
(6:38)  5. On Green Dolphin Street
(6:33)  6. Blue Hawaii
(2:32)  7. Serenata
(5:13)  8. Um Um

The second recording by pianist Bobby Enriquez is a crazy affair. Enriquez, who had the tendency to throw in an excess of silly song quotes, meets up with the equally crazy Richie Cole, and they bring out the worst in each other. With guitarist Bruce Forman, bassist Bob Magnusson and drummer Shelly Manne keeping the proceedings swinging, Enriquez and Cole generally start out their solos well before getting bogged down in topping each other's absurdity. This set is not without interest, and some of the humor (such as Cole's "vocal" on "Wild Man Blues") works, but much of it is tiresome by the second or third listen. ~ Scott Yanow  http://www.allmusic.com/album/wildman-meets-the-madman-mw0000905836

The Wildman Meets Madman

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Sant Andreu Jazz Band - Live At Casa Fuster - Barcelona

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 72:02
Size: 166,5 MB
Art: Front

(3:03)  1. Cute
(5:49)  2. Some Of These Days
(4:12)  3. Basin Street Blues
(5:14)  4. China Boy
(3:19)  5. Splanky
(2:39)  6. When You're Smiling
(3:39)  7. Tiger Rag
(5:03)  8. In A Sentimental Mood
(3:09)  9. Do You Know What It Means To Miss New Orleans
(2:09) 10. Bill Bailey
(6:22) 11. Careless Love
(3:12) 12. Shiny Stockings
(3:08) 13. Petite Fleur
(4:11) 14. The Sheik Of Araby
(5:22) 15. Black And Tan Fantasy
(5:14) 16. That's A Plenty
(4:25) 17. You Need To Rock
(1:45) 18. Turtle Walk

"The Sant Andreu Jazz Band is a dream come true. It is the result of sharing my passion for jazz with its members (most of whom are between 10 and 16 years old), of believing that they can do as well or better than me, of feeling like the most advanced student rather than the teacher, and of not putting limits on their abilities. The band was formed in 2006, in the heart of the Escola Municipal de Música de Sant Andreu. Since then it has gradually developed into what it is today: a large, open musical group that is constantly evolving."~ Joan Chamorro

“These young people are very lucky to have someone like Joan Chamorro. It is hard to find someone who can teach people to play with so much heart and with such a wide range of musical forms. They play everything with confidence, from the oldest sounds to swing. I am incredibly impressed. I will tell everyone about these young people when I get to New York”~ Scott Robinson  http://santandreujazzband.bandcamp.com/album/jazzing-live-at-casa-fuster

With Joan Chamorro, Dani Alonso, Juli Aymí, Josep Mª Farràs, Curro Gálvez, Ricard Gili, Carlos Martín, Pepe Robles, Clara Sallago, Ignasi Terraza, Josep Traver, Sergi Vergés.

Live At Casa Fuster-Barcelona

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Terry Gibbs - S/T

Bitrate: 320K/s
Time: 46:28
Size: 106.4 MB
Styles: Bop, Latin jazz, Vibraphone jazz
Year: 1955/2006
Art: Front

[7:18] 1. Seven Come Eleven
[4:01] 2. Lonely Dreams
[7:02] 3. Dickie's Dream
[4:27] 4. Imagination
[4:30] 5. King City Stomp
[4:06] 6. Pretty Face
[5:16] 7. The Continental
[3:52] 8. Bless My Soles
[5:52] 9. Nutty Notes

Terry Gibbs’s career as a vibraphonist and bandleader spans a full 50 years, nearly 50 albums, and hundreds of concert, club, and TV appearances. The Brooklyn-born child prodigy, who went on his first national tour at age 12, became a professional musician in 1946, following a three-year Army stint. He joined Woody Herman’s herd in ’48, and a year or so later formed his own band.

Gibbs was voted the top vibes player by Down Beat and Metronome magazines from 1950 to 1956. He also has the distinction of being the only person nominated in four categories of the Playboy Jazz Poll since its inception: Best Vibraphonist, Best Quartet, Best Big Band, and Best Bandleader.

Bass – Herman Wright; Drums – Nils-Bertil Dahlander; Piano – Terry Pollard; Vibraphone – Terry Gibbs.

Terry Gibbs

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George Wallington Quintet - Jazz For The Carriage Trade

Bitrate: 320K/s
Time: 35:46
Size: 81.9 MB
Styles: Bop, Piano jazz
Year: 1991/2012
Art: Front

[5:32] 1. Our Delight
[5:27] 2. Our Love Is Here To Stay
[5:03] 3. Foster Dulles
[6:47] 4. Together We Wail
[7:07] 5. What's New
[5:48] 6. But George

During 1956-57 trumpeter Donald Byrd and altoist Phil Woods (both important up-and-coming players) were regular members of pianist George Wallington's quintet. For this CD reissue, bassist Teddy Kotick and drummer Art Taylor complete the group on a program that includes three standards ("Our Delight," "Our Love Is Here to Stay" and "What's New"), a pair of Woods originals ("Together We Wail" and "But George") and Frank Foster's "Foster Dulles." The music falls between bebop and hard bop with Woods sounding quite strong while Byrd comes across as a promising (but not yet mature) youngster. A fine example of this somewhat forgotten but talented group, easily recommended to bop collectors. ~Scott Yanow

Jazz For The Carriage Trade

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Nora York - What I Want

Bitrate: 320K/s
Time: 53:07
Size: 121.6 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[3:25] 1. What I Want
[4:50] 2. Turns On A Dime
[4:36] 3. Artificial Paradise
[4:31] 4. Donna
[3:59] 5. Rock And Hard
[4:49] 6. Stand By Your Man
[4:02] 7. Another Day
[4:20] 8. Heal Me
[4:27] 9. Ruby Tuesday
[4:58] 10. Indigo River
[1:42] 11. Hymn
[3:44] 12. Everytime I Fall In Love
[3:39] 13. Hard Times Come Again No More

Musician, conceptual artist, singer, and educator Nora York makes deeply emotional, intelligent, and socially engaged music. From her earliest genre busting musical adventures to collaborations with contemporary composer Maria Schneider in Alchemy (released on ArtistShare) or past giants such as G.F. Handel in Water Water Everywhere, and Puccini in Jump -- York defines herself outside of musical category. Her work has been commissioned by the Public Theater in NYC and The Robert Rauschenberg Foundation, and earned her a two New York State Council for the Arts Composer's awards. She often writes for television and film with her long time collaborator and co-composer (five time Emmy Award winner) Jamie Lawrence.

York has been teaching at New York University Tisch School of the Arts in 1997. Nora York is a singular voice contemporary American music. Listen to her music here, or try to catch one of her live performances that have audiences on their feet!

What I Want

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Joe Venuti & Zoot Sims - Joe & Zoot & More

Bitrate: 320K/s

Time: 61:48

Size: 141.5 MB

Styles: Swing, Standards

Year: 1974/2002

Art: Front

[4:15] 1. I Found A New Baby

[3:20] 2. There's A Small Hotel

[4:52] 3. Indiana

[2:28] 4. My One And Only Love

[3:27] 5. The Wild Cat

[3:42] 6. It's The Girl

[4:33] 7. Oh, Lady Be Good

[6:01] 8. Someday Sweetheart

[4:07] 9. C Jam Blues

[3:44] 10. Blue Too

[3:04] 11. Oh, Lady Be Good

[3:07] 12. Dinah

[1:53] 13. Tea For Three

[3:20] 14. Diga Diga Do

[3:38] 15. I'll Never Be The Same

[3:23] 16. String The Blues

[2:46] 17. The Blue Room

At first glance, Philadelphia violinist Joe Venuti and Los Angeles tenor/soprano saxophonist Zoot Sims might seem an unlikely combination. Venuti was known for swing, classic jazz, and Dixieland, whereas Sims (who was young enough to be Venuti's son) was primarily a cool/bop musician along the lines of Stan Getz, Al Cohn, and Paul Quinichette. But when you think about it, the combination makes perfect sense. Before Sims made bop changes his main focus in the mid-'40s, he played in swing bands -- and Sims (like Getz, Cohn, and Quinichette) was heavily influenced by the seminal Lester Young. So all things considered, it makes perfect sense for Venuti and Sims to join forces on Joe and Zoot and More (which was recorded in 1973 and 1974). Stepping outside of cool jazz and bop, Sims enthusiastically joins Venuti in a classic jazz/swing setting. The performances generally recall the early '30s, and Venuti and Sims enjoy an undeniably strong rapport on inspired versions of "I Found a New Baby," "Indiana," and other familiar standards. As gutsy and hard-swinging as the up-tempo performances are, Venuti and Sims are unapologetically sentimental on ballads like "There's a Small Hotel" and "My One and Only Love." Some bop snobs might think the ballads are too sentimental -- in bop, ballad playing has often tended to be less sentimental and more intellectual than the swing and classic jazz ballad playing of the '30s. (Lyrical, romantic, and pretty don't necessarily mean ultra-sentimental.) But truth be told, there is nothing wrong with jazz instrumentalists being sentimental -- it certainly worked well for Bunny Berigan, Chu Berry, Artie Shaw, and countless others who emerged in jazz's pre-bop era. Joe and Zoot and More is an excellent CD that Venuti fans and Sims admirers should both make a point of obtaining. ~Alex Henderson

Joe & Zoot & More

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Django Manouche - Gypsy Swing & Hot House Jazz

Styles: Gypsy Jazz
Year: 2013
File: MP3@320K/s
Time: 42:08
Size: 97,0 MB
Art: Front

(1:36)  1. Blue Paris Stomp
(1:41)  2. Swing Fiasco
(1:40)  3. Schwingin'
(1:29)  4. Trois Soevrs
(1:52)  5. Lucky In Love
(1:41)  6. Movin' On
(2:50)  7. Alcohol
(1:30)  8. Hot House Blues
(1:55)  9. Hey Minor
(1:50) 10. Mosquito
(1:31) 11. Sweet Swing
(1:30) 12. Le Jazz
(1:40) 13. No One But You
(1:46) 14. A Gypsy Waltz
(2:21) 15. Where Do We Go?
(2:10) 16. Naked As A Jaybird
(1:39) 17. Skipping
(1:35) 18. Make It Snappy
(2:20) 19. Holland
(1:46) 20. Bleu
(1:32) 21. Fishing Hole
(1:55) 22. Fred's Stomp
(2:08) 23. Gypsy Fire

Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. Because it's origins are largely in France it is often called by the French name, "jazz manouche", or alternatively, "manouche jazz", even in English language sources. Some modern dictionaries recommend avoiding using the word "gypsy" because it is felt to have been tainted by its frequent use as a pejorative, however dictionaries do not caution against use of the term "gypsy jazz."Django was foremost among a group of Romani guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.

Many of the musicians in this style worked in Paris in various popular Musette ensembles. The Musette style waltz remains an important component in the Gypsy jazz repertoire. Reinhardt was noted for combining a dark, chromatic Gypsy flavor with the swing articulation of the period. This combination is critical to this style of jazz. In addition to this his approach continues to form the basis for contemporary Gypsy jazz guitar. Reinhardt's most famous group, the Quintette du Hot Club de France, also brought fame to jazz violinist Stéphane Grappelli.

Gypsy Swing & Hot House Jazz

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Jennifer Lee - Quiet Joy

Styles: Jazz, Bossa Nova
Year: 2009
File: MP3@320K/s
Time: 71:22
Size: 167,0 MB
Art: Front

(4:01)  1. I Hear Music
(5:43)  2. Quiet Joy
(5:16)  3. Menina Da Lua
(5:18)  4. O Barquinho
(5:01)  5. Music Of Your Soul
(4:01)  6. You Knew
(5:31)  7. O Pato
(4:22)  8. Menininha Do Portao
(6:23)  9. Baby Mine
(5:29) 10. I Don't Want To Fall
(5:51) 11. Amor Certinho / S'wonderful
(6:02) 12. Pennies From Heaven
(8:20) 13. On A Clear Day / Never Never Land

You cannot judge a jazz CD by its cover, particularly in this age of frankly shoddy-looking self-produced sleeves that may well detract attention from good music inside. The cover of Jennifer Lee's Quiet Joy is not amateurish on the contrary, it is very tastefully assembled. Nevertheless, it could be misleading. The cover depicts the San Francisco Bay Area-based singer and instrumentalist seated in a leafy flower garden, the details spelled out in a sunny font. The packaging promises the musical equivalent of the herbal tea Lee appears to be savoring earnestly in the photograph: watery, bland, maybe superfluously seasoned with cinnamon or nutmeg. Probably healthy for you.  Not to worry. The inner armature of Quiet Joy is Brazilian music, including samba and bossa nova, musical forms whose liquid equivalent...well, it wouldn't be herbal tea. Lee and her bandmates play this music quite idiomatically, bearing witness to Lee's years leading the Doce Brasil group. The wordless title track (a Lee composition in a decidedly carioca vein) delights with marvelous accents provided by Raul Ramirez's percussion details. 

The Brazilian numbers are exquisitely chosen; on several, Lee accompanies her own vocals on acoustic guitar. These performances compare quite favorably with the celebrated Morelenbaum²/Sakamoto Casa (Sony, 2002), a Jobim tribute. The bossa nova elements share sonic space with straight-ahead jazz, which the Lee group does equally well on a handful of tracks. The medley of Roberto Guimarães's fine "Amor Certinho" paired with Gershwin's "'S Wonderful" is one that embodies the disc's musical philosophy. The best among the jazz tunes is "You Knew," sounding vaguely like a bona fide standard ("I Let A Song Go Out Of My Heart" or "Love For Sale"?), but it is in fact another fine Lee original. Lee's piano playing is bright and propulsive, and Bay Area coffee lovers might just swoon when she mentions Peet's Coffee and Tea on Piedmont Avenue in Oakland. Better still than the successful marriage of jazz and Brazilian standards is Lee's singing. The number of pitch-perfect vocalists who come down the pike these days is astonishing, but quite rare are those whose voices have genuine personality. Lee is among the latter. In fact, she sings the way critic Robert Christgau once described Dewey Redman's tenor saxophone playing: technically perfect and full of heart. Quiet Joy is bound to disappoint those looking for the aural version of a tepid chamomile tea, but certain to delight the rest of us. ~ Jeff  Dayton-Johnson  http://www.allaboutjazz.com/quiet-joy-tomeka-reid-review-by-jeff-dayton-johnson.php#.U8NpJbFryM0
 

Personnel: Jennifer Lee: vocals, guitar (2-4, 7-11), piano (6, 12, 13); Peter Sprague: guitar (1-6, 10-13); Bob Magnusson: bass (2, 3, 6, 9, 10, 13); Buca Necak: bass (1, 4, 5, 7, 8, 11, 12); Raul Ramirez: percussion (2, 4, 5, 7, 8, 11); Duncan Moore: drums (1, 3, 6, 7, 9, 10, 12, 13); Tripp Sprague: harmonica (4, 9), saxophone (6, 11); Carter Dewberry: cello (3).

Quiet Joy

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The Larry Eanet Quartet - Sunset Stomp

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 67:43
Size: 155,7 MB
Art: Front

(5:42)  1. Rhythm King
(4:55)  2. Across The Blues
(4:11)  3. Susie
(6:01)  4. Sultry Sunset
(4:45)  5. Rain
(3:54)  6. Sunset Stomp
(4:42)  7. Ten Paciencia
(5:22)  8. Miss Brown To You
(6:54)  9. Lady Of The Lavender Mist
(4:07) 10. Clementine
(5:19) 11. It Shouldn't Happen To A Dream
(3:27) 12. Hi Ya, Sophia
(8:18) 13. Frederic's Tune

This quartet is based in the Washington, D.C. area, where pianist Larry Eanet has been playing swing and traditional jazz for most of his life. He began recording in earnest as a bandleader in 1997, upon retiring from his medical practice. The quartet includes bassist Tommy Cecil, drummer Harold Sumney, Jr., and the very fine clarinet and saxophone player Ron Hockett. On this delightful program there are some unusual song choices-obscure Duke Ellington tunes ("Across the Track Blues," "Lady of the Lavender Mist," "Sultry Sunset"), a seldom-recorded Billy Strayhorn tune ("Clementine") and, most interesting of all, two adaptations of classical material: "Sunset Stomp," which is based on the "Sunset" movement of Groffe's "Grand Canyon Suite," and "Frederic's Tune," which was adapted by Eanet from Chopin's "Etude #6." 

Everything swings joyfully and dreamily; when Hockett is on clarinet, you can hear echoes of Benny Goodman's small-group recordings. Eanet himself is both a strong leader and a creative, quick-witted pianist. Highly recommended. ~ Rick Anderson  http://www.allmusic.com/album/sunset-stomp-mw0000242209

Personnel: Larry Eanet (piano); Ron Hockett (soprano & tenor saxophones, clarinet); Tommy Cecil (bass); Harold Summey Jr. (drums). 

Sunset Stomp

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The Phil Markowitz Trio - Sno' Peas

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 46:53
Size: 107,4 MB
Art: Front

(6:52)  1. Sno' Peas
(4:31)  2. Sweet Sisters
(6:16)  3. Infant Eyes
(6:42)  4. Yesterdays
(4:55)  5. Circular Motion
(6:17)  6. Tristesse
(6:47)  7. Hope
(4:29)  8. Toko Blues

Phil Markowitz (born 1952) is a jazz pianist and educator. He graduated from the Eastman School of Music and in 1979 had his "first big break" working with Chet Baker's band. He is most known as a sideman. He made a 1980 recording entitled Sno' Peas with Eddie Gomez and Al Foster. He recorded two live duo albums with Dave Liebman as a member of Liebman's group;  Markowitz calls this work the "biggest break of all" and they have worked together on and off for fifteen years. He has also served as a pianist in Bob Mintzer's Big Band. In 1979, Markowitz started a four-year association with Chet Baker's band that took him around the world, and yielded such recordings as Broken Wing, Live at Nick's Place, Two A Day, Live at Chateauvallon, and Live at The Rising Sun. Markowitz has performed and/or recorded with such notables as Mel Lewis, Marian McPartland, Phil Woods, Lionel Hampton, Nick Brignola, Joe Chambers, Miroslav Vitous and Joe Williams. His recordings as leader include Taxi Ride (which features a reunion with his lifelong friend Toots Thielemans), 

In the Woods, Sno' Peas (1980), Restless Dreams (with vibraphonist Joe Locke) and 7 plus 8, with Italian saxophonist Maurizio Giammarco. Markowitz has recently been heard with the all-star group Saxophone Summit (with Michael Brecker, Joe Lovano and David Liebman), but his credentials span a cornucopia of jazz; from the traditional to the avant-garde. Markowitz's notoriety as a composer came in the late 1970s when he was playing in a New York club with Toots Thielemans. As they were playing Markowitz's composition "Sno' Peas", pianist Bill Evans walked in, loved the song, and asked Thielemans to bring it to their upcoming recording session. Evans' and Thielemans' subsequent recording of "Sno' Peas" on the Grammy-nominated album Affinity put Markowitz on the map as a jazz composer. As well as performing around the globe, Markowitz has served as guest artist and clinician in major conservatories and universities throughout the world. Academically speaking, however, his home base is the Manhattan School of Music, where he is a professor in the graduate and doctoral divisions. Markowitz has received endowments and grants from The Howard Foundation, Chamber Music America, The Doris Duke Foundation, the National Endowment for the Arts and the New York Foundation for the Arts. He is married to singer/actress Davia Sacks.  http://en.wikipedia.org/wiki/Phil_Markowitz

Sno' Peas

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