Black Swan Classic Jazz Band - This Joint Is Jumpin'

Styles: Jazz: Dixieland
Year: 2005
File: MP3@320K/s
Time: 62:36
Size: 144,4 MB
Art: Front

(4:44)  1. This Joint Is Jumpin'
(3:34)  2. Tia Juana
(3:49)  3. I'd Give A Dollar For A Dime
(3:44)  4. Minnie The Moocher
(2:37)  5. Danza De Los Nanigos
(5:32)  6. Floatin' Down The Old Green River
(3:51)  7. Michigander Blues
(4:00)  8. Shreveport Stomps
(6:53)  9. Sweet Mama Stringbean
(3:49) 10. Dude Ranch Blues
(4:04) 11. East St. Louis Toodle-oo
(3:31) 12. Scott Joplin's New Rag
(4:12) 13. Midnight In Moscow
(3:02) 14. Lassus Trombone
(5:06) 15. Atlanta Blues

Hot, swinging early jazz stylings, featuring great ensemble work and vocalist Marilyn Keller. Black Swan Classic Jazz Band formed in 1989 as a hot dance band dedicated to the preservation and performance of Dixieland, old-time gospel, early jazz and ragtime music. The band has toured numerous festivals and community events in the U.S. and British Columbia. When not on the road, the band's members call Oregon's beautiful Willamette Valley home. http://www.cdbaby.com/cd/bscjb2

This Joint Is Jumpin'

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The Jim Seeley-Arturo O'Farrill Quintet - ST

Bitrate: 320K/s

Time: 47:32

Size: 108.8 MB

Styles: Post bop, Latin jazz

Year: 2004

Art: Front

[5:58] 1. Truth Juice

[6:14] 2. Solita

[6:01] 3. Starry Night

[4:01] 4. Little General

[7:57] 5. Forest Path

[6:46] 6. New Meaning

[9:04] 7. Cha-Cha Un-Uh

[1:27] 8. Child's Toy

Although trumpeter Jim Seeley co-leads the quintet on this Zoho CD with pianist Arturo O'Farrill, he is very much the dominant force. Seeley contributed all eight selections and is the most memorable soloist in the group. The music includes a tribute to Art Blakey's Jazz Messengers ("Truth Juice"), a few funky jazz pieces, the straight-ahead blues "New Meaning," and a brief unaccompanied trumpet solo ("Child's Toy"). Seeley teams up with the underrated tenor saxophonist and flutist Jed Levy and the rhythm section of the Lincoln Center Afro-Latin Orchestra (pianist O'Farrill, bassist Andy Gonzalez, and drummer Phoenix Rivera). The music is not as Latin-oriented as one would expect from this personnel and can be considered hard bop with funk overtones. Most importantly, this CD introduces Jim Seeley as a potentially major new trumpeter and a rare jazz export from Kansas. ~Scott Yanow

The Jim Seeley-Arturo O'Farrill Quintet

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Sylvia Bennett - C'est Si Bon

Bitrate: 320K/s
Time: 40:33
Size: 92.8 MB
Styles: Jazz-pop vocals
Year: 2013
Art: Front

[2:51] 1. C'est Magnifique
[3:00] 2. C'est Si Bon
[3:44] 3. Que Reste-T-Il De Nos Amours
[2:18] 4. Moulin Rouge
[2:38] 5. Un Homme Et Une Femme
[3:21] 6. Pour Toi
[2:49] 7. La Seine
[3:26] 8. Les Feuilles Mortes
[3:36] 9. Les Parapluies De Cherbourg
[3:18] 10. Ce Je Ne Sais Quoi Sur Mon Paris
[2:42] 11. La Vie En Rose
[3:20] 12. La Mer
[3:24] 13. Et Maintenant

C'est Si Bon was born from Sylvia Bennett s love affair with France and the enchanting songs that, like Paris herself, sparkle with seduction and panache. The protege of jazz legend Lionel Hampton, this Grammy nominated, international recording artist, is an American diva with a French heart. C'est Si Bon is a musical tour de force that magically transports you to a place of romance, rapture, and heady possibility... Veritably, si bon! With such songs as C'est Magnifique, Un Homme et Une Femme, and La Vie En Rose the album weaves a world of enchantment where romance reigns, fancy takes flight, and Paris beckons.

Sylvia Bennett the timeless smooth jazz and pop vocalist sings of love with a warmth, clarity, and spirit that is enveloping and tender, showcasing the depth of her skill, talent and experience. She's sung with Lionel Hampton and she's sung for presidents all with a singular style and intimacy that is hers and hers alone.

She's one part jazz, one part pop, and one part sultry. If you like Ella Fitzgerald, Barbra Streisand, and Rosemary Clooney, you'll LOVE Sylvia Bennett.

C'est Si Bon

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Joe Albany - Portrait Of An Artist

Bitrate: 320K/s
Time: 42:46
Size: 97.9 MB
Styles: Bop, Piano jazz
Year: 1982/2013
Art: Front

[6:31] 1. Autumn In New York
[4:46] 2. I Guess I'll Hang My Tears Out To Dry
[6:42] 3. For The Little Guy
[5:07] 4. They Say It's Wonderful
[5:28] 5. Too Late Now
[5:37] 6. Confirmation
[3:42] 7. Ruby, My Dear
[4:51] 8. A Conversation With Joe Albany

This mostly ballad-oriented trio set with bassist George Duvivier and drummer Charlie Persip was pianist Joe Albany's final recording. Albany, whose career (especially on records) did not really get going until his final decade, is in generally good form on such tunes as "Autumn In New York," "They Say It's Wonderful" and "Confirmation." The album concludes with a brief interview that sums up some aspects of his episodic life. ~Scott Yanow

Portrait Of An Artist

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Klüver's Big Band - Better Believe It

Bitrate: 320K/s
Time: 57:25
Size: 131.4 MB
Styles: Big band
Year: 2013
Art: Front

[ 5:08] 1. Better Believe It
[ 2:50] 2. Gee Baby, Ain't I Good To You
[ 6:03] 3. Tired Of Pretty Women
[ 3:13] 4. I Want A Little Girl
[ 2:50] 5. Indiana
[ 3:53] 6. I'm Confessin'
[ 3:15] 7. Dinah
[ 3:52] 8. I Can't Give You Anything But Love
[ 3:36] 9. On The Sunny Side Of The Street
[ 2:35] 10. Ooo-Pa-Pa-Da-Introduction
[ 9:16] 11. Ooo-Pa-Pa-Da
[10:48] 12. A Prayer For Pops

"Better Believe It" er Klüvers Big Bands hyldest til jazz-legenden Louis Armstrong. Med numre taget fra Satchmos eget repertoire og nyere numre skrevet i hans ånd leverer Big Bandet sammen med trompetisten Byron Stripling og den eminente New-York-trommeslager Dennis Mackrel musik med stor intensitet og intens nerve.

Better Believe It

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Connie Evingson - Gypsy in My Soul

Styles: Vocal Jazz, Gypsy Jazz
Year: 2004
File: MP3@320K/s
Time: 60:51
Size: 140,0 MB
Art: Front

(4:44)  1. Nature Boy
(4:30)  2. I'm Confessin'
(4:20)  3. Gypsy in My Soul
(5:05)  4. Nuages
(2:56)  5. Lover Come Back to Me
(3:56)  6. Lullaby of the Leaves
(4:13)  7. Until
(4:39)  8. April in Paris
(3:52)  9. Caravan
(4:26) 10. The Lonely One
(3:39) 11. Night and Day
(4:43) 12. You and the Night and the Music
(2:44) 13. Django's Premonition
(3:45) 14. I Cover the Waterfront
(3:13) 15. S'Wonderful/Dizzy Atmosphere

Django Reinhardt and Stephane Grappelli gave us a timeless chapter in jazz history that emphasized acoustic music with cultural influences from various parts of the world. To that lovely aroma Connie Evingson adds her mellifluous voice and intimate way with a melody. She interprets songs that carry a nostalgic memory, and she carves each one with a distinctive flair. Seamless phrasing, smoky resonance and a genuine caring give her presentation a natural quality. "Gypsy in My Soul" swings lightly with a comfortable texture, as The Parisota Hot Club lends powerful support. The band complements Evingson's convincing lyric interpretation and her lively scat chorus. Singing French and English lyrics to "Nuages," Evingson unleashes a century of passion. Sam Miltich and The Clearwater Hot Club deliver a heartfelt ambience to carry her message in no uncertain terms. She's equally at home with Sting's "Until," a soulful waltz that resembles Jim Croce's "Time in a Bottle." 

It's another example of the timeless nature of Evingson's album. With Pearl Django providing graceful acoustic charm and guest vibraphonist Susan Pascal weaving her melodies among the singer's pert lines, the song transforms into an exotic adventure. Guitarist Neil Anderson adds a lovely reflection of Django Reinhardt's manner, as Sting's music meets Django. "Caravan" swings madly with a driving spirit and "Night and Day" swings with a lighter disposition, while "April in Paris" takes the listener on a vacation to France, with lyrics in French and English. Both "Nature Boy" and "The Lonely One" allow Evingson to capture every ounce of emotion that comes with the territory. She portrays a Gypsy's freedom in her interpretations, while giving her audience a highly recommended musical program. Audio examples of Evingson's performances may be found at her web site. ~ Jim Santella  http://www.allaboutjazz.com/gypsy-in-my-soul-connie-evingson-minnehaha-music-review-by-jim-santella.php#.U805uLFryM0

Personnel: Connie Evingson- vocals; Don Chouinard, Patrick Harrison- accordion; Darryl Boudreaux- percussion; Susan Pascal- vibraphone; Greg Williamson- drums; Clearwater Hot Club: Sam Miltich- guitar; Mark Kreitzer- guitar, mandolin; Matthew Miltich- bass; Raphael Fraisse- violin; Parisota Hot Club: Robb Henry, Bob Ekstrand- guitar; Keith Boyles- bass; Tony Baluff- clarinet; Pearl Django: Neil Anderson, Greg Ruby- guitar; Rick Leppanen- bass; Michael Gray- violin.

Gypsy in My Soul

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Martin Taylor - Change of Heart

Styles: Guitar Jazz
Year: 1996
File: MP3@320K/s
Time: 48:32
Size: 112,0 MB
Art: Front

( 9:52)  1. 73 Berkley Street
( 5:02)  2. The Gypsy
(10:45)  3. You Don't Know Me
( 5:05)  4. After Hours
( 5:47)  5. Change Of Heart
( 4:44)  6. I Get Along Without You Very Well
( 7:13)  7. Angel's Camp

Martin Taylor's star rose considerably during the 1990s with a flurry of recording activity as a leader, especially dates such this one from the series he did for the Scottish label Linn. With a rhythm section of pianist David Newton, bassist Brian Shiels, and drummer John Rae, the guitarist's program is wide-ranging and has some surprises. Taylor wrote a pair of originals: The opener, "73 Berkeley Street," at first gives the impression of being a groove tune until the quartet launches into a brisk bop setting, and his "Angel's Camp" has a rhythm & blues flavor with a touch of gospel. Country great Eddy Arnold's "You Don't Know Me" has been covered by a few jazz musicians, but Taylor's bluesy guitar and Newton's soulful piano make this extended performance a treat. 

Taylor overdubbed a second guitar on his otherwise unaccompanied treatment of Ike Isaacs' snappy "After Hours," and he's truly solo on a soft lyrical take of Hoagy Carmichael's timeless "I Get Along Without You Very Well." This recommended CD is well worth acquiring. 

~ Ken Dryden  http://www.allmusic.com/album/change-of-heart-mw0000188626

Personnel: Martin Taylor – guitar; David Newton - piano & synthesiser; Brian Shiels – bass; John Rae - drums

Change of Heart

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Bobby Hutcherson - Un Poco Loco

Styles: Vibraphone Jazz
Year: 1979
File: MP3@320K/s
Time: 37:31
Size: 88,5 MB
Art: Front

(4:44)  1. The Sailor's Song
(4:12)  2. Silver Hollow
(8:21)  3. Un Poco Loco
(4:39)  4. Love Song
(4:30)  5. Ivory Coast
(7:10)  6. Ebony Moonbeams
(3:52)  7. I Wanna Stand Over there

By 1980, vibraphonist Bobby Hutcherson had evolved from a member of the avant-garde into a top exponent of the modern mainstream. This excellent album (mostly originals and obscurities but highlighted by an inventive version of Bud Powell's classic title cut) features Hutcherson with a top notch all-star group also including guitarist John Abercrombie, keyboardist George Cables, electric bassist Chuck Domanico and drummer Peter Erskine. Pity that this fine set has been long out-of-print. ~ Scott Yanow  http://www.allmusic.com/album/un-poco-loco-mw0000602898

Personnel: Bobby Hutcherson (vibraphone, marimba); George Cables (acoustic & electric pianos); John Abercrombie (acoustic & electric guitars); Chuck Domanico (acoustic & electric basses); Peter Erskine (drums, percussion).

Un Poco Loco

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Plas Johnson - This Must Be The Plas!/Mood For The Blues

Bitrate: 320K/s
Time: 75:38
Size: 173.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[3:03] 1. Too Close For Comfort
[3:34] 2. I Hadn't Anyone Till You
[2:41] 3. Heart And Soul
[3:38] 4. Poor Butterfly
[3:15] 5. Memories Of You
[2:17] 6. Just One Of Those Things
[2:59] 7. There Is No Greater Love
[3:13] 8. If I Had You
[3:10] 9. My Silent Love
[3:20] 10. Day In, Day Out
[2:55] 11. My Old Flame
[3:27] 12. S'il Vous Plait
[3:21] 13. Don't Let The Sun Catch You Cryin'
[2:55] 14. One Mint Julep
[2:49] 15. How Long Has This Been Going On
[2:21] 16. Blues In My Heart
[2:59] 17. I've Got A Right To Cry
[2:27] 18. Please Send Me Someone To Love
[2:56] 19. Tanya
[2:40] 20. Fool That I Am
[2:44] 21. Chloe (Song Of The Swamp)
[3:09] 22. Since I Fell For You
[2:25] 23. A Mood For The Blues
[2:19] 24. I Wanna Be Loved
[2:27] 25. The Big Twist
[2:21] 26. Come Rain Or Come Shine

During the late Fifties and early Sixties in the US the saxophone of Plas Johnson was a ubiquitous sound on radio. Known as the horn behind the hits , he was famous as the tenor sax on the celebrated 1963 Pink Panther main theme recording. Born near New Orleans, he moved to the west coast at a very young age and there launched a career that made him one of the most sought-after studio musicians on the Los Angeles scene, with a great reputation built largely on his remarkable ability to play any style of music with taste and restraint.

The two Capitol albums here epitomize this. On This Must Be the Plas! (1959), he is accompanied by three small groups with slight personnel changes, and although Plas is the main voice on tenor, baritone and alto sax everybody else in the group has his own solo space. Mood for the Blues (1960) features Plas on tenor with strings and rhythm, the tasteful arrangements of Gerald Wilson and René Hall forming a fine background for his solo work. Also included here is his first single for Capitol, including his smash hit The Big Twist and Come Rain or Come Shine. His warm tone and naturally easy style is as greatly admired by other musicians as it is by jazz and pop music fans. It resulted in the kind of soulful, pretty and well-controlled sound that gave universal enjoyment.

This Must Be The Plas!/Mood For The Blues

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Lili Araujo - Casa Aberta

Bitrate: 320K/s
Time: 42:12
Size: 96.6 MB
Styles: Latin jazz vocals
Year: 2012
Art: Front

[3:28] 1. Negro Coração
[5:15] 2. Até Quando Durar
[4:41] 3. Vai Saber
[3:13] 4. Não Tem Nada Não
[4:34] 5. Casa Aberta
[3:08] 6. Onde Estiver
[3:42] 7. Pra Se Lembrar De Mim
[3:41] 8. Sinceridade
[3:21] 9. Não Tem Perdão
[3:49] 10. Vindobona
[3:14] 11. Pode Ir

After consolidating her career in Europe, the young Rio de Janeiro born and bred singer and songwriter Lili Araujo came back to Brazil in 2008 and launched her debut album, “Arribação”. Composed by eleven unique tracks, her work is a mix of choro and samba – rhythms that were part of her childhood in the outskirts of Rio. To that were added the jazz conception, elements and instruments. At only 26, Lili came on the scene, blending references as she created her own musical identity.

The artist, graduated in canto popular at Escola de Música Villa Lobos, in Rio, emmigrated to Vienna, Austria, in 2006 and it was in Europe that her career took off with important appeareances and presentations in jazz clubs, festivals and european theatres such as Tunnel Live Jazz (Vienna), Theater am Spittelberg (Vienna), Reigen (Vienna), Birdland (Vienna), Porg & Bess (Vienna) and Blue Note (Paris). In 2008 the singer wanted more and launched her debut album “Arribação” with austrian record label Oficina Records. She came back to Brazil in the middle of that year, where she performed launching shows from this album at Modern Sound, Sala Baden Powell, Cinematéque, Sala FUNARTE São Paulo and Estrela da Lapa. She also had wonderful appraisals from the specialized press. In the middle of 2009, sponsored by the austrian company SKE/AKM, she went on a little tour of Europe with the concert, passing through Vienna, Schwaz (Tyrol), London, Lausanne, Lisbon and Stockholm.

More than 40 musicians took part on the making of this first CD, including well known instrumentalists such as harmonica player Gabriel Grossi, multi-instrumentalist Dirceu Leite and drummer Marcio Bahia. It also featured young talented instrumentalists such as Guto Wirtti (bass), Joana Queiroz (clarinet), Gabriel Gestzi (piano), Rodrigo Villa (bass), Rafael Barata (drums), Marcelo Caldi (accordion), Vitor Gonçalves (piano), Bernardo Ramos (electric and acoustic guitar) amongst others.

The eleven tracks were arranged by saxophonist Henrique Band, trompeter Darcy da Cruz, guitarists Gabriel Improta and Marcos Amorim and by Lili Araujo. On this first work the artist composed all the lyrics except the track “Tapete azul”, which was by Toninho Pôrto. She shone as a songwriter with her own songs and in partnership with the young violinist Kalu Coelho as well as veterans such as guitarists and songwriters Alegre Corrêa and Marcos Amorim.

Voz/Voice: Lili Araujo; Violão/Acoustic Guitar: Daniel Santiago; Contrabaixo/Acoustic Bass: Guto Wirtti; Piano: Vitor Gonçalves; Bateria/Drums: Rafael Barata.

Casa Aberta

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Mike Vax & Clark Terry - Creepin' With Clark

Bitrate: 320K/s
Time: 56:51
Size: 130.2 MB
Styles: Neo-bop,Trumpet jazz
Year: 2000
Art: Front

[4:16] 1. Serenade To A Bus Seat
[5:37] 2. Just A Simple Waltz
[3:47] 3. Royal Street Shuffle
[6:36] 4. Creole Love Call
[6:02] 5. Sweet Emma
[4:51] 6. Struttin' With Some Bbq
[5:06] 7. Sheba
[5:59] 8. Creepin' With Clark
[8:31] 9. Jive At Five
[6:03] 10. One Foot In The Gutter

Although Mike Vax is a talented trumpeter and flügelhornist, it's hard not to be upstaged by a guest the caliber of Clark Terry. Fortunately these two men realize that this studio session is not a competition, but instead an old friendship that is focused on producing great music. The supporting cast includes the talented but underappreciated trombonist John Allred, young pianist Reggie Thomas, veteran bassist Rufus Reid, and Terry's regular drummer Sylvia Cuenca. Vax contributed the lively "Royal Street Shuffle," which is driven by Thomas' strong boogie-woogie piano, and the oddly named "Creepin' With Clark," as there's nothing slow-paced about this swinger! Vax's deliberate arrangement of Duke Ellington's "Creole Love Call" opens with just Terry's flügelhorn and Allred's trombone, before Vax adds his muted trumpet as the rest of the group joins in; Terry's following gutbucket muted solo is inspired. Terry's fat-toned flügelhorn is immediately identifiable on his old composition, the upbeat "Serenade to a Bus Seat," which features great solos by the entire group. The two leaders' horns blend beautifully in Terry's "Just a Simple Waltz," and they take turns caressing his rich ballad "Sheba." The tasty dessert at the end of this CD is actually served in two courses. First, Terry's treatment of the late Harry "Sweets" Edison's easygoing "Jive at Five" features him alternating between his matchless scat singing and his muted trumpet. The finale finds Terry alternating between muted trumpet and flügelhorn on his funky "One Foot in the Gutter." Highly recommended. ~Ken Dryden

Creepin' With Clark

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Jim Mullen Organ Trio - Make Believe

Bitrate: 320K/s
Time: 54:57
Size: 125.8 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[6:38] 1. Nature Boy
[7:46] 2. Make Believe
[6:10] 3. When I Fall In Love
[5:53] 4. Nancy
[6:55] 5. A Fond Kiss
[8:07] 6. Speed Of Sound
[6:53] 7. Just The Little Things
[6:30] 8. Rule Of Thumb

If you are not acquainted with the subdued delights of the Organ Trio, here's your chance. Not three organs, you'll be glad to know, but Hammond organ, drums and Mullen's inimitable, mellow guitar. With its fearsome power held in check, the Hammond is capable of great warmth and delicacy and Mike Gorman is a master of this. Matt Skelton's drumming is feather-light but firm. The trio has now become a quartet with the addition of Stan Sulzmann on tenor saxophone. His glossy tone and sweeping phrases bring a new perspective to the sound. The programme mixes originals with ballads ranging from Nat King Cole to Robert Burns. ~Dave Gelley

Make Believe

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Alexandra Lehmler Quintett - Die Welt Von Unten Gesehen

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 54:55
Size: 128,0 MB
Art: Front

(2:20)  1. La Revolte
(6:06)  2. A Cowboy's Song
(1:47)  3. Paris Triste (Intro)
(7:02)  4. Paris Triste
(1:35)  5. Miniatur I
(5:39)  6. Die Welt Von Unten Gesehen
(8:20)  7. Frieda
(7:41)  8. Debout!
(0:49)  9. Miniatur II
(6:27) 10. Let's Leave It All Behind
(5:15) 11. Guy Moquet
(1:49) 12. La Revolte (Reprise)

Their music has all the attributes that you can enjoy ascribes to the "male" Jazz: Sovereign in the lecture, complex, but do not unnecessarily complicated. With noticeable roots, but it's full expression. In short, coming from the abdomen, grown music, the notes you still head insert and consideration. The title of the album, "No Blah Blah" (published in 2012 at the renowned Mannheim label JAZZ'n'ARTS by Thomas Siffling and promoted by the "Initiative Musik"), is the program. Full content and exciting are the compositions, charming is the whole concept of this CD.Musically takes Alexandra Lehmler not mince words, except, of course, that of her saxophone. The old masters of jazz has it audibly studied intensively; we repeatedly influences of different jazz eras in their game on, internalized melodies and lyrical themes - and a lot of contour.

 Lehmlers "vibrating sound on the predominantly blown in bright layers of saxophone, the sleek lines and the song-like melodies," Klaus Mümpfer summed this up in Jazzpodium in words, were "unmistakable". And the Mannheimer Morgen cheers: "Wonderfully light hand they staged their music." Born in Bad Ems on the Lahn 1979 Alexandra Lehmler would certainly become also an excellent pianist, if not the grandpa would have chopped up the piano for firewood. So they had to decide on a different instrument and inflamed than eight year old girl for the saxophone. After five years of verordnetem parents clarinet lessons she could finally begin at age 13 with her ??favorite instrument and learned alongside alto and soprano saxophone and the bass clarinet.Next she took with all stations of a promising musical career: she played in the National Youth Jazz Orchestra under the direction of Peter Herbolzheimer and, among others, Maria Schneider, David Liebman, Jurgen Friedrich, Peter Weniger and Bobby Shew. After completing her studies at the Musikhochschule Mannheim, she deepened her skills with Bernd Konrad in Stuttgart and at the Conservatoire National Supérieur de Musique in Paris. 2004 took place in Alexandra Lehmler Daniel Prandl (p), Matthias Debus (bs) and Max Mahlert (dr) their long-time musical companions that accompany them consistently on the path of a strictly European and world jazz. 

With a native of Colombia percussionist Farouk Gomati the formation short time later grew to a quintet and advanced the world's musical component crucial. The years of continuous work have Alexandra Lehmlers band welded together - at No Blah Blah, it already is the third album together. In terms of staff, the original quintet grew up in this time septet, this time also participate in the guitar and Michael Flury on the trombone as guests Frank Mobus. You and bassist Matthias Debus - her companion in the band and in life and father of two children are at the center and have also composing shared. As a gang leader Alexandra Lehmler attaches importance to a sound where the "color of the sound," as Rainer Koehl recognize very properly in the Rhein-Neckar-Zeitung, "plays a special role." The Band box she used here was always stocked with bright colors that seem to affect most appealing in their combination: "The World Seen from below" On the last album (2009) wrote at the time the music week: "Never annoying, never intrusive, always entertaining and varied, this album is. "What does the musician and her band in No Blah Blah back to music, is an exciting, spirited condensate from classical jazz elements with refreshing influences from the Balkans and Latin America. Also world music flows in Lehmlers jazz quite naturally, occurs occasionally in the foreground. thus makes Alexandra Lehmler canted-inclined jazz for the general mainstream. So spirited, as playful. Translate by google  http://www.bundesjazzwerkstatt.de/?p=128

Personnel: Daniel Prandl (piano); Matthias Debus (bass); Max Mahlert (drums); Farouk Gomati (percussion)

Die Welt Von Unten Gesehen

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Paul Desmond - Easy Living

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 67:17
Size: 154,5 MB
Art: Front

(5:48)  1. When Joanna Loves Me
(5:49)  2. That Old Feeling
(5:51)  3. Polka Dots And Moonbeams
(5:43)  4. Here's That Rainy Day
(7:09)  5. Easy Living
(4:19)  6. I've Grown Accustomed To Her Face
(6:25)  7. Bewitched
(6:28)  8. Blues For Fun
(5:42)  9. Rude Old Man
(6:13) 10. Polka Dots And Moonbeams (alternate take)
(7:47) 11. Bewitched (alternate take)

As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." [Some reissues add a pair of outtakes, plus "Rude Old Man."] ~ Richard S.Ginell  http://www.allmusic.com/album/easy-living-mw0000652725

Personnel: Paul Desmond (alto saxophone); Jim Hall (guitar); Eugene Wright, Eugene Cherico, Percy Heath (bass); Connie Kay (drums).

Easy Living

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Johnny Frigo - Debut of A Legend

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 55:58
Size: 132,3 MB
Art: Front + Back

(4:34)  1. Get Happy
(4:03)  2. I'm Old Fashioned
(3:04)  3. Osaka Saki
(5:09)  4. Too Late Now/Street of Dreams
(3:30)  5. Bow Jest
(4:25)  6. Nuages
(6:14)  7. Jitterbug Waltz
(5:25)  8. Heather On The Hill/How Are Things In Glocca Morra
(5:01)  9. I Love Paris
(6:18) 10. Here's That rainy Day
(3:09) 11. Lush Life
(5:03) 12. Jeannine

Violinist Johnny Frigo's third album as a leader (he had previously made a forgotten date for Mercury in 1957 and a Chesky CD in 1988) is his definitive set, even though he was 77 at the time. With a good supporting cast (guitarist Gene Bertoncini, Bob Kindred on tenor and clarinet, pianist Joe Vito, bassist Michael Moore, and drummer Bill Goodwin), Frigo mostly explores standards, plus two of his originals. The music, falling between swing and bop, is superior straight-ahead jazz; among the highlights are "Get Happy," "Bow Jest," "Jitterbug Waltz," and "Jeannine." Frigo's sudden prominence in his '70s (considering he spent most of his career as a bassist) was as unlikely and welcome an event as trumpeter Doc Cheatham's late-period triumphs. ~ Scott Yanow  http://www.allmusic.com/album/debut-of-a-legend-mw0000119053

Personnel: Johnny Frigo (violin); Gene Bertoncini (guitar); Bob Kindred (clarinet, tenor saxophone); Joe Vito (piano); Bill Goodwin (drums).

Debut of A Legend

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Mark Crooks - How My Heart Sings

Size: 117,7 MB
Time: 50:40
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Instrument
Art: Front

01. The Lady's In Love With You (3:30)
02. Everytime (3:45)
03. I Wish I Knew (5:46)
04. When Day Is Done (5:57)
05. Garden In The Rain (4:40)
06. How My Heart Sings (4:37)
07. Everything I've Got (4:40)
08. Young And Foolish (5:58)
09. Bud Powell (4:32)
10. Bess You Is My Woman Now (2:51)
11. At Long Last Love (4:20)

Personnel: Mark Crooks (ldr/ten/clt), John Pearce (piano), Matt Miles (bass), Steve Brown (drums)

The clarinet is an often unfairly maligned instrument in the jazz world. Frank Wess, the eminent octogenarian saxophonist, was reputed to have said, 'the clarinet was invented by two guys who didn't know each other'. Another standout saxophonist, George Coleman, was one of many to have uttered the quip 'the only time Woody Allen made me laugh was when he picked up the clarinet'. These glib and offhand remarks aside, there is a difficulty with the clarinet in many modern jazz groups and big bands for sheer projection and volume reasons alone. It often has to resort to its sometimes shrill high register to be heard above these ensembles and, as a result, is compromised musically.

Practitioners of the instrument will no doubt be aware of the limpid and loamy qualities of the clarinet's chalumeau register, which is probably its least known and featured attribute. However, this was an area of the instrument that Ellington highlighted frequently with 1930s Crescent City stylists like Barney Bigard and Otto Hardwicke, as well as the more modem Jimmy Hamilton.

Tenorist and clarinettist Mark Crooks brings many of the clarinet's sides to light in this CD on the Mac label, How My Heart Sings ,with great effect. This is accomplished through no mean contribution by the crack rhythm support team present, led by pianist John 'the pro' Pearce, a consummate accompanist whose elegant melodocisms in his solos do much to spice up the proceedings. Bassist Matt 'Melody' Miles's timekeeping is matched by his unrelenting lyricism in his improvisations and drummer to the stars, Steve 'Beat' Brown's steady time is enhanced by his ebullient verve both as a person and percussive conversationalist. The added bonus on this date is the rich-toned guitar of Colin 'Ice' Oxley, whose solos burn coolly, laced with steadfast poise. One of the highlights included is Gershwin's Bess You Is My Woman Now from his seminal 1934 opera. Played poignantly by just clarinet and piano the melancholic yearning passion of the piece is captured to its tearful best. As the late saxophonist, Spike Robinson said to young lion Mark a few years back, 'if the tune's good enough, why spoil it, just play the tune'. The listener bathes in the pathos of the clarinet lament yet is heartened by the hopeful grace of John Pearce's rhapsodic, yet supportive piano.

Mark's Zootish tenor picks the mood up a bit with its swing and swagger on his original Everytime along with the Hague/Horwitz evergreen Young and Foolish. Other clarinet offerings include the title track composed by pianist Bill Evans's friend Earl Zindars, and the London-based American bandleader Carroll Gibbons's opus Garden in the Rain.

This disc features something for everyone; as well as a virtual history of the styles and colours beholden to the clarinet there is some fruity tenor sax to add muscle and bounce. ~Frank Griffith.

How My Heart Sings

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Trio Esperança - Doce França

Size: 99,6 MB
Time: 42:44
File: MP3 @ 320K/s
Released: 2013
Styles: Chanson, Brazilian Rhythms
Art: Front & Back

01. Les Copains D'abord (2:38)
02. Quelques Mots D'amour (3:40)
03. Ce N'est Rien (3:01)
04. La Chanson Des Vieux Amants (Cançao Dos Velhos Amantes) (3:26)
05. Lily (Lily A Somali) (3:18)
06. Et Maintenant (2:54)
07. Chaque Jour De Plus (2:53)
08. La Boheme (Uma Bela Historia) (4:17)
09. Sob O Ceu De Paris (3:02)
10. Que Reste-t-il De Nos Amours (Bem Mais Que Tudo) (2:25)
11. Bancs Publics (Os Amantes Dos Bancos Publicos) (3:19)
12. La Vie En Rose (2:33)
13. Message Personnel (2:52)
14. Tendresse (2:18)

Trio Esperança is a Brazilian vocal trio, formed in the city of Rio de Janeiro in 1958, by the siblings Mário, Regina and Evinha Correia José Maria. They had several hits in Brazil, such as "Festa do Bolinha" and "Filme Triste" - a version of the pop song Sad Movies (Make Me Cry), released as a single in 1962 - and released albums through Polygram Records, EMI, Universal Music and Philips Records.

After releasing 4 albums in France, the Trio Esperança took a break from the music business in 2002. The band returned on stage in 2008. In 2010, the Trio Esperança, composed by Evinha, Regina and Mariza, released a new album De Bach a Jobim on French label Dreyfus Jazz. The disc featured covers of music by The Beatles, Bach, Antonio Carlos Jobim, in addition to original material.

In 2013, almost 20 years after the release of "A Capela do Brasil", the first album they released in France, the Trio Esperança decided to pay tribute to French music, with their personal take on 14 songs by emblematic French artists, releasing a new album "Doce França"

Doce França

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Marta Krol - Thank God I'm A Woman

Size: 106,1 MB
Time: 45:46
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front & Back

01. Thank God I'm A Woman (5:26)
02. Things Above (3:51)
03. In The Wee Small Hours Of The Morning (3:48)
04. From This Moment On (3:28)
05. A House Is Not A Home (4:17)
06. Usmiech (3:54)
07. Começar De Novo (6:23)
08. Mr Busy Man (3:58)
09. Song Of Longing (6:23)
10. Thank God I'm A Woman (Radio Edit) (4:14)

Born in Bytom, Poland. Is a classically trained and graduated viola player from Chopin`s Music School in Bytom, but during her education without a doubt it was her voice that became her main instrument.

Winner of many important vocal festivals in Poland, including:

- 1st Prize and a Special Polish Television Prize at the Young Vocalists Fesival – Debuts in Lublin (2005 and 2007)
- Grand Prix at the national English Song Festival in Brzeg (2007)
- Special Prize at International Jazz Festival New Hope of Jazz in ?omz.a (2009)

Her first album The First Look has appeared in May 2011, was reviewed by many critics and journalists and nominated for the most prestigious music awards in the country.

Thank God I'm A Woman

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Jeremy Baum - The Eel

Size: 120,2 MB
Time: 50:59
File: MP3 @ 320K/s
Released: 2014
Styles: Funky Soul-Jazz, Blues, Hammond Organ
Art: Front

01. The New Pollution (4:16)
02. Funky Monkey (4:39)
03. Three More Bottles (5:31)
04. Charlie Baum (5:00)
05. Dance With Me (3:21)
06. Borracho (3:19)
07. Pacific Drive (5:44)
08. Ain't It Funky Now (5:47)
09. Purple Rain (7:09)
10. The Eel (6:09)

Jeremy Baum plays the Hammond Organ and piano and leads his own band, which is rooted in the blues and funky soul-jazz sounds of the late 60s (think Booker T and the MG’s, the Meters, Jimmy Smith!) His style is also informed by the current masters of the groove from the jam-band scene (Medeski, Martin & Wood, Soulive, Derek Trucks Band, Marco Benevento.)

While still in college, Jeremy joined Murali Coryell's band, and soon began leading his own organ trio. In 2002 Jeremy released his first album, Lost River Jams, on Flying Yak Records. JB’s Band was also featured on Boogaloo to McDuff, a tribute to Jack McDuff, available on Scufflin’ Records. Jeremy has been leading his band at festivals and clubs in the New York and New England region ever since.

Jeremy has been a successful sideman, working with Shemekia Copeland (6 years in her band), Levon Helm, soul-jazz legend Melvin Sparks, Sue Foley, Joe Louis Walker, Debbie Davies, Chris O’Leary, John Hammond Jr., and many more. He has played in nearly every state in the USA, in over 25 countries in North America, Europe and Asia, at countless music festivals, at Carnegie Hall, and many television appearances including Late Night with David Letterman. The man has paid some dues!

Back in the studio for his sophomore release, The Eel, on Flying Yak Records, Jeremy Baum knocks it out of the park with 10 Hammond organ and piano driven arrangements. It's an album of funky, bluesy new compositions as well as original arrangements of songs by Beck, Prince, James Brown and more. Recorded by the amazing Dave Gross at Fat Rabbit Studios, this album features many of the best and brightest musicians from Jeremy's twin musical homes of New York City and the Hudson Valley/Woodstock NY area. Special guests include, among others, Jay Collins, Eric Kalb, Scott Sharrard, guitar prodigy Myles Mancuso, Chris Vitarello, and VizzTone artists Dennis Gruenling, Michael Bram, and Chris O’Leary.

The Eel

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Jack Montrose & Bob Gordon - Two Can Play (2-Disc set)

Largely forgotten in the 1990s and living in the Las Vegas area, tenor saxophonist Jack Montrose was one of the most skillful of the cool jazz arranger/composers of the 1950s. This 1998 CD combines together two dates: arguably Montrose's finest album as a leader (a 1955 outing with baritonist Bob Gordon, trumpeter Conte Candoli, pianist Paul Moer, bassist Ralph Pena, and drummer Shelly Manne), plus a quintet set that was actually headed by the short-lived Gordon (who died in a car accident on August 28, 1955). Montrose's own date has five of his originals plus three reworked standards, while Gordon's album is comprised of six Montrose songs (including two versions of "Two Can Play") and three other standards. Even on the latter album, Montrose's charts (which are full of unexpected surprises while always swinging and leaving room for plenty of solos) are quite notable and show that, despite the restrained tones, there was plenty of excitement to be found in West Coast jazz. In addition, this CD acts as a perfect memorial for the talented Gerry Mulligan-influenced baritonist Bob Gordon. Highly recommended. ~Scott Yanow

CD1 #1-9: Bob Gordon Quintet
Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Joe Mondragon (b), Billy Schneider (d). Hollywood, May 6 and 27, 1954

CD1 #10-14 & CD2 #1-4: Jack Montrose Quintet
Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Red Mitchell (b), Shelly Manne (d). Hollywood, May 11 & 12, 1955

CD2 #5-12: Jack Montrose Sextet
Conte Candoli (tp), Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Ralph Peña (b), Shelly Manne (d). Hollywood, June 24 and July 6, 1955.

Album: Two Can Play (Disc 1)
Bitrate: 320K/s
Time: 49:40
Size: 113.7 MB
Styles: Saxophone jazz
Year: 1955/2012

[2:34] 1. Meet Mr. Gordon
[3:01] 2. Tea For Two
[3:43] 3. Modus Operandi
[3:24] 4. Onion Bottom
[3:35] 5. What A Difference A Day Makes
[3:44] 6. For Sue
[2:21] 7. Love Is Here To Stay
[2:27] 8. Two Can Play
[2:24] 9. Two Can Play (Alternate Take)
[4:56] 10. A Little Duet
[4:02] 11. Paradox
[3:31] 12. When You Wish Upon A Star
[5:13] 13. Have You Met Miss Jones
[4:39] 14. Dot's Groovy

Two Can Play (Disc 1)

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Album: Two Can Play (Disc 2)
Bitrate: 320K/s
Time: 60:29
Size: 138.5 MB
Styles: Saxophone jazz
Year: 1955/2012
Art: Front

[5:43] 1. I'm Gonna Move To The Outskirts Of Town
[4:32] 2. Cecilia
[5:01] 3. April's Fool
[4:15] 4. The News And The Weather
[5:31] 5. Listen, Hear
[5:15] 6. Pretty
[5:27] 7. Bewitched, Bothered And Bewildered
[5:23] 8. Credo
[5:32] 9. Fools Rush In
[4:11] 10. Speakeasy
[4:26] 11. That Old Feeling
[5:06] 12. Some Good Fun Blues

Two Can Play (Disc 2)

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