George Golla & Leonie Smith - Never The Less

Bitrate: 320K/s
Time: 32:08
Size: 73.6 MB
Styles: Vocal jazz
Year: 2006
Art: Front

[2:26] 1. Blue Skies
[3:47] 2. East Of The Sun And West Of The Moon
[2:49] 3. I Can't Get Started With You
[4:57] 4. E'vry Time We Say Goodbye
[2:47] 5. All The Things You Are
[4:17] 6. The Gentle Rain
[2:46] 7. Love Walked In
[4:10] 8. More Than You Know
[4:04] 9. On The Street Where You Live

“George Golla and I met during the recording of my first album “Sweet Jazz” in 2003, and the four tunes in duo with George soon proved the most popular. George and I then toured to Burnie, Tasmania, once in 2004 and again in 2005. At the Manly Jazz Festival in 2004 we worked as a duo and as part of the “Legends in Jazz”, a line-up of George on guitar, Errol Buddle on sax, Cliff Barnes on double bass and Cyril Bevin on drums. We opened the Noosa Jazz Festival, together with Matt Thompson on piano and Paul Furniss on reeds.

George and I have decided to record together again for purely selfish reasons... because we like to play music together, and to have something permanent to keep of our time together. Because I wanted an honest portrayal of our live performances, our new album “Never the Less” (named after the punch-line in one of George's fine anecdotes) was recorded live in John Morrison's home studio and it was made very easy for me because of George’s vast experience as an accompanist and his collaboration with Don Burrows.

This album is self-produced and self-released and only digital copies will be available for download from the usual In-ternet sites. I am manufacturing sample CDs for airplay and promotion only. This is something of an experiment and came about because the cost of producing an album on CD is very expensive for the independent artist, and the with imminent demise of the shop-front CD store Digital is certainly the way of the future and more economical. The Internet is now providing a much bigger audience for our music.

I hope you enjoy this example of our music, as much as we enjoyed recording it.” Regards Leonie Smith

Never The Less

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Cris Delanno - S/T

Bitrate: 320K/s
Time: 42:56
Size: 98.3 MB
Styles: Easy Listening, Latin jazz vocals
Year: 2007
Art: Front

[3:22] 1. Canoeiro
[3:52] 2. Just The Two Of Us
[3:55] 3. Bem Longe
[2:26] 4. Me Liga
[4:55] 5. Consolação
[3:05] 6. Crazy Little Thing Called Love
[3:58] 7. Previsão
[2:39] 8. Gaiolas Abertas
[4:02] 9. Receita De Samba
[3:09] 10. O Brasil Precisa Balançar
[3:58] 11. We've Only Just Begun
[3:29] 12. O Ronco Da Cuíca

Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~bio by Drago Bonacich

Cris Delanno

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Brian Bromberg - Compared To That

Bitrate: 320K/s

Time: 70:39

Size: 161.7 MB

Styles: Mainstream, Straight-ahead

Year: 2012

Art: Front

[8:24] 1. Compared To That

[9:51] 2. Rory Lowery, Private Eye

[6:34] 3. If Ray Brown Was A Cowboy

[7:27] 4. Hayride

[7:17] 5. A Little New Old School

[5:17] 6. Forgiveness

[4:49] 7. Does Anybody Really Know What Time It Is

[7:40] 8. I'm Just Sayin'

[8:57] 9. The Eclipse

[4:17] 10. Give It To Me Baby

Ever sit back dreamily listening to an album, letting the music wash over you when all of a sudden, you hear a number that snaps you to attention? Such is the experience when listening to Brian Bromberg's Compared to That.

The noteworthy number here: "Hayride," an original by Bromberg. Earlier tracks are hard-edged smooth jazz arrangements. The title track shows off Jeff Lorber's piano, along with Bromberg's unique work on acoustic bass and hollow body piccolo bass. (Album note, there are no guitar melodies or solos on this recording— only Bromberg on piccolo.) This is followed by "Rory Lowery, Private Eye," which is filled with hot licks punctuated by Mitchel Forman's piano and Gary Meek's tenor. In contrast, the aforementioned, attention grabbing "Hayride," with its country feel and jazz overlay of piccolo bass, banjo and violin results in a boisterous dos- à -dos called by Bromberg.

In the ten-track set, eight are penned by Bromberg, who leads an eclectic ensemble featuring a ten-piece horn section and at times, the Japenese Rising Sun Orchestra. Standout number "If Ray Brown Was A Cowboy, " pares the musicians down to three, Tom Zink on piano, Vinnie Colaiuta on drums, and Bromberg on acoustic bass. It's a tasty piece, with a low-down funky flavor. The two covers, Chicago's "Does Anybody Ever Really Know What Time It Is" and Derrick James's "Give It To Me Baby" are reworked with large ensembles in swinging, finger-popping fashion, conclusively proving that Bromberg is a jazzman for all seasons. Compared to That is wide ranging but the direction is straight-ahead and down-the-middle...occasionally edging to the passing lane. ~Larry Taylor

Brian Bromberg: Acoustic, electric, acoustic piccolo bass; Ginnie Coliuta: drums (all tracks except 6); Alex Acuna: percussion (1, 4, 5, 6, 8, 10); Jeff Lorber: piano (1, 5); Gary Meek: tenor sax (1, 2, 5, 7, 8, 10); Randy Brecker: trumpet, fluegelhorn (5, 8, 9); Tom Zink: piano (3, 6, 7, 10); Mitch Forman: piano (2, 4); Bela Fleck: banjo (4); Charlie Bishirat: Violin (4); Gannin Arnold: rhythm guitar (5); Larry Goldings: Hammond B3 organ (7); George Duke: piano (9); Horn section: Willie Murillo: trumpet; Tony Guerrero: trumpet; Mark Visher: alto sax, baritone Sax; Vince Trombetta: tenor sax: Jason Thor: trombone (1, 2, 5, 7, 10); Rising Sun Orchestra (4, 6).

Compared to That

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Rebecca Kilgore with the Harry Allen Quartet - I Like Men

Bitrate: 320K/s

Time: 71:03

Size: 163.2 MB

Styles: Vocal jazz

Year: 2014

Art: Front

[5:36] 1. I Like Men/I'm Just Wild About Harry

[5:31] 2. The Gentleman Is a Dope

[5:42] 3. The Boy Next Door

[3:40] 4. An Occasional Man

[3:14] 5. Goldfinger

[5:30] 6. Ballad of the Sad Young Men

[6:15] 7. The Man I Love

[5:15] 8. For Every Man There's a Woman

[4:31] 9. Marry the Man Today

[4:53] 10. He Needs Me

[3:39] 11. He's a Tramp

[3:29] 12. He's My Guy

[2:57] 13. Down Boy

[4:25] 14. One Man Ain't Quite Enough

[6:19] 15. The Man That Got Away

As the album title suggests all the tracks relate to the male of the species in one form or another, this is not a new concept but has been tried and tested to great advantage by Peggy Lee and many of these songs have been recorded by Miss Lee including two of her own compositions.

Rebecca Kilgore has developed into a first class interpreter of classic material and on this album she is accompanied by four musicians who are sympathetic to her style of vocalising. Rossano Sportiello has taken over the role vacated by Dave McKenna and John Bunch on their demise. Like Scott Hamilton Harry Allen knows when to fill the spaces and when to stay in the background, his solos are an added bonus. Joel Forbes on bass and Kevin Kanner on drums rounding out a superb team.

The album opens with a medley of two songs associated with Peggy Lee “I Like Men / I’m just wild about Harry” but Miss Kilgore puts her own stamp on them and with Harry Allen contributing a swinging solo on the second tune it makes for a very satisfying track. The title track from the James Bond film “Goldfinger” would not appear to be suitable material for a singer of the calibre of Miss Kilgore but she pulls it off with ease and turns it into something of quality. The same could be said of Frank Loser’s “Marry the man today” but combined with attractive solos from both Harry Allen and R4ossano Sportiello Rebecca turns it into an easy paced swinger.“Ballad of a sad young man” is Harry Allen and the rhythm section with Harry providing a sensitive ballad reading of the song with Rossano Sportiello catching the mood with a fine solo. It is not we hear songs like Harold Adamson and Hoagy Carmichael’s “Down boy” and Harold Arlen and Truman Capote’s “One man ain’t quite enough” on many singer’s albums but Rebecca Kilgore is prepared to dig a little deeper and uncover gems like these and is to be applauded. This is one of the best vocal albums I have heard in some time and with such a class backing group it’s got to be a winner. ~Roy Booth

Rebecca Kilgore - vocals; Harry Allen - saxophone; Rossano Sportiello - piano; Joel Forbes - bass; Kevin Kanner - drums.

I Like Men

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Judi Silvano - Vocalise

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 62:26
Size: 143,4 MB
Art: Front

(2:28)  1. Vocalise
(4:33)  2. Daydream
(6:18)  3. Bass Space
(3:59)  4. Thanks For You
(5:04)  5. Looking Back (Reflections)
(9:14)  6. Heuchera Americana
(3:12)  7. Weird Nightmare
(4:43)  8. It's So Amazing
(3:49)  9. Pavane
(4:10) 10. All Too Soon
(8:36) 11. At Home (Sweet Home)
(2:47) 12. Serenity
(3:26) 13. Vocalise II

Singer Judi Silvano studied dance and music at Temple University and began collaborating with other East Coast jazz musicians in the late 1970s. With the major influence of Ella Fitzgerald in her early years, Silvano mixes classical, jazz, mainstream and free jazz styles. In the liner notes to Vocalise, she writes, "beautiful music and good technique go beyond any style." Silvano's first release as a leader presents a well-rounded set in many styles, with support from Vic Juris on guitars, Drew Gress on acoustic bass, Bob Meyer on drums, Dave Ballou on trumpet, Oscar Noriega on alto sax & bass clarinet, and Joe Lovano guesting for several numbers on tenor sax, drums, and percussion. The title track is a composition by Russian composer Sergei Rachmaninoff presented as a wordless vocal piece, with the electric guitar of Juris supplying a vocal-like texture.

"Vocalise II" is an outside approach to the same melody with a different lineup supporting the vocal lines. Ravel's "Pavane," Ellington's "All Too Soon," Strayhorn's "Daydream," Mingus' "Weird Nightmare" and Monk's "Looking Back" pay tribute to these legendary composers and present unique approaches to their work.  But it's the singer's own compositions that provide the most excitement. Silvano's "Heuchera Americana" is a modal piece with an infectious repeating melodic theme and many changes in the rhythmic form. With salutes to Monk, Bach, and rock, the arrangement places a trumpet / alto sax duo trading fours behind the unison blend of guitar and vocalist, and offers everyone a chance to stretch. The singer's "It's So Amazing" presents Lovano on drums, with a natural melodic style fitting hand in hand with the music, which is delivered first with lyrics and later with scat-singing. Over half the tracks use lyrics, and a common bond throughout the set is a careful blending of timbres in pairs, such as guitar / voice, saxophone / voice, trumpet / saxophone, and guitar / trumpet. Vic Juris proves himself a more than able partner throughout the session, and Joe Lovano delivers trademark solos on "All Too Soon," "Looking Back," and Silvano's composition "Bass Space." Recommended. ~ Jim Santella  http://www.allaboutjazz.com/vocalise-judi-silvano-blue-note-records-review-by-jim-santella.php#.U_X3aWMfLP8

Personnel: Judi Silvano (vocals); Oscar Noriega (alto saxophone, bass clarinet); Joe Lovano (saxophone, drums, gongs, percussion); Dave Ballou (trumpet); Vic Juris (guitar); Dave Gress (bass); Bob Meyer (drums).

Vocalise

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Hank Garland - Move! Disc 1 And Disc 2

Styles: Guitar Jazz

Year: 2001

File: MP3@320K/s

Time: 47:53 (Disc 1)

Size: 110,3 MB (Disc 1)

Time: 49:45 (Disc 2)

Size: 115,0 MB (Disc 2)

Art: Front + Back

Disc 1

(4:29)  1. All The Things You Are

(4:00)  2. Three-Four, The Blues

(4:27)  3. Move

(4:34)  4. Always

(7:53)  5. Riot-Chorus

(6:13)  6. Relaxing

(2:33)  7. Call D. Law

(2:50)  8. It's Love, Of Course

(2:42)  9. Not For Me

(2:37) 10. (Tell Me) What Am I To Do?

(3:22) 11. You're Here Again

(2:09) 12. Pop Goes the Weasel

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Disc 2

(2:47)  1. Autumn Leaves

(2:13)  2. Why Not?

(2:13)  3. Ed's Place

(2:25)  4. Scarlet Ribbons (For Her Hair)

(2:11)  5. Like Someone In Love

(2:26)  6. Ain't Nothing Wrong With That, Baby

(3:19)  7. Polka Dots And Moonbeams

(1:48)  8. Tammy

(2:39)  9. Secret Love

(2:41) 10. Greensleeves

(3:23) 11. Blame It On My Youth

(3:07) 12. Unless You're In Love

(2:06) 13. Just For Tonight

(2:12) 14. Close Your Eyes

(2:47) 15. Rainy Afternoon

(2:50) 16. Ed's Place (early version)

(3:29) 17. Polka Dots And Moonbeams (early version)

(2:33) 18. Some Of These Days

(2:27) 19. Secret Love (early version)

This long-awaited two-disc set features all of Garland's jazz sides for Columbia Records between 1959-1960, including the complete albums Velvet Guitar, The Unforgettable Guitar of Hank Garland, and Jazz Winds From a New Direction. Although it may seem a bit quaint, in its time Jazz Winds was a revelatory performance; previously, it was almost impossible to believe that a country guitarist could attack jazz lines with this much imagination and finesse, even taking into account what Chet Atkins had already accomplished. 

Also surprising was the fact that Jazz Winds wasn't commercial or countrified in any way; it was marketed as a straight jazz album, played by a real jazz quartet that included Joe Morello (drums), Joe Benjamin (bass), and vibraphonist Gary Burton in his debut recording. However, even if that album caused all the fuss, there's terrific playing scattered throughout the other two, whether it's the cleverly titled "Call D. Law," the hard-swinging Garland original "Why Not?," or lovely takes on "Scarlet Ribbons" and "Polka Dots and Moonbeams." These sessions have become legendary in guitar circles, and the fact that most of them have been out of print for decades makes this reissue a real treasure for Garland fans. ~ Jim Smith  http://www.allmusic.com/album/move!-the-guitar-artistry-of-hank-garland-mw0000004544

Move! Disc 1

Move! Disc 2

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Wayne Shorter - Alegria

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 57:02
Size: 130,7 MB
Art: Front

(7:40)  1. Sacajawea
(6:08)  2. Serenata
(7:02)  3. Vendiendo Alegria
(6:00)  4. Bachianas Brasileiras No. 5
(5:28)  5. Angola
(1:50)  6. Interlude
(4:37)  7. She Moves Through the Fair
(6:09)  8. Orbits
(6:04)  9. 12th Century Carol
(5:59) 10. Capricorn II

Wayne Shorter raised high expectations after last year's critically acclaimed Footprints Live . His new release, Alegria, continues to reveal the creativity and vitality in one of today's true jazz icons. Footprints was the first time Shorter had recorded live with his own acoustic group. The group, featuring the younger jazz talents of drummer Brian Blade, pianist Danilo Perez, and bassist John Patitucci, reconstructed Shorter compositions recorded over thirty years ago. The recording was nominated for a Grammy award for Jazz Record of the Year, and was applauded by both audiences and critics (including our own ). Alegria is Shorter's first studio release in over eight years and he began recording it with his new group before the onset of the Footprints tour. 

It contains new material, featuring his touring group, along with a larger ensemble of musicians and instruments including brass, woodwind, and percussion. Reminiscent of Shorter's earlier solo recordings as well as with the '70s jazz super-group Weather Report, the music has a global feel, eclectic and free. Shorter has always been a brilliant composer, and with the addition of instruments such as the oboe, bassoon, and flute, each composition is layered with textures and timbres that open the music to fresh avenues.  If you were expecting your typical jazz post-bop recording, then think again. The first selection, "Sacajawea," morphs from a boogaloo groove, only to conclude in free jazz flight. Others feature highly composed arrangements such as "Orbits," which mixes strings and jazz in a unique way. Shorter's main quartet members continue to deliver keen musicianship, but it's his own playing and arranging skills that take the forefront. His signature soprano voice is as smooth as silk on the lovely selection "Serenata" which features a nice string and woodwind medley. 

His tenor is equally impressive and warm on "She Moves Through The Fair," and throaty on the new "Capricorn II." The recording also features contributions from guest artists including drummer Terri Lyne Carrington and Chris Potter on sax and bass clarinet. Alex Acuna, Shorter's ex-band member from Weather Report adds impeccable percussion to four selections. At seventy years young, Shorter is proof of the ongoing quest of jazz: creating music that is vibrant, exploratory, and heartfelt. Appropriately "Alegría" means "joy" in Spanish, and the new recording is indeed moving, expressive, and a pleasure to listen to. ~ Mark F.Turner  http://www.allaboutjazz.com/alegria-wayne-shorter-verve-music-group-review-by-mark-f-turner.php#.U_og6WMfLP8
 

Personnel: Wayne Shorter (arranger, soprano saxophone, tenor saxophone); Robert Sadin (arranger); Chris Potter (tenor saxophone, bass clarinet); Lew Soloff, Chris Gekker (trumpet); Bruce Eidem, Michael Boschen, Jim Pugh, Steve Davis (trombone); Marcus Rojas (tuba); John Clark, Stewart Rose (horns); Paul Dunkel (flute); Allen Blustine (clarinet, bass clarinet); Stephen Taylor (oboe, English horn); Frank Morelli (bassoon); David Garrett, Barry Gold, Gloria Lum, Daniel Rothmuller, Brent Samuel, Cecilia Tsan, Charles Curtis (cello); Danilo Perez, Brad Mehldau (piano); John Patitucci (bass); Brian Blade, Terri Lynne Carrington (drums); Alex Acuna (percussion).

Alegria

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Cecil Payne - Cecil Payne-Duke Jordan 1956-1962 Sessions

Bitrate: 320K/s
Time: 64:18
Size: 147.2 MB
Styles: Hard bop, Saxophone jazz
Year: 2008
Art: Front

[3:46] 1. This Time The Dream's On Me
[7:47] 2. How Deep Is The Ocean
[5:27] 3. Chessman's Delight
[3:37] 4. Arnetta
[6:38] 5. Saucer Eyes
[5:32] 6. Man Of Moods
[6:19] 7. Bringing Up Father
[4:21] 8. Groovin' High
[3:48] 9. Yes, He's Gone
[3:58] 10. Dexterity
[4:45] 11. I'm Gonna Learn Your Style
[4:58] 12. Like Church
[3:17] 13. Tall Grass

In his early days as a great jazz baritone saxophonist, quintessential sideman Cecil Payne played much more sweet and refined music than the rough and tumble bopper Pepper Adams or the more sophisticated Gerry Mulligan. These sessions as a leader, in tandem with the underrated pianist Duke Jordan, show a more sweet and innocent player on a horn known for brusque and burly tones. It might be misleading in modern times to call Payne a smooth player, but all potential coarse edges in his sound were filed away, and he displayed fluency and an even-keeled discipline one has to admire. The bulk of these recordings are from 1956, originally on the Signal label LP Cecil Payne and the Savoy release Patterns of Jazz, in a quartet or quintet setting, the latter complemented by trumpeter Kenny Dorham. A lilting -- yes lilting -- baritone sax sound for "This Time the Dream's on Me" sets the tone from the outset, but Payne goes right to the heart with the ballad "How Deep Is the Ocean?" A member of fellow Brooklynite Randy Weston's band, Payne pays homage with the lyrical midtempo swinger "Chessman's Delight," and with the perfectly paired Dorham on classic dotted eighth-note phrasings during "Saucer Eyes." At heart a bopper, Payne and Jordan, with the trumpeter, hit up their original "Man of Moods," Payne's fleet Charlie Parker-ish "Bringing Up Father," and the Dizzy Gillespie classic "Groovin' High." Five tracks from 1962, which include trumpeter Johnny Coles, sound different, and display the developing irregular fringes of Payne's bari. Coles uses a muted trumpet on the ballad "Yes, He's Gone" playing the second chorus of the melody after Payne's deeper inflections, and Payne lays out for the muffled horn of Coles to take center stage on Jordan's slow, wispy "Tall Grass." The quintet again adopts Parker's fervor on the perfectly played "Dexterity," while the leader's composition "Like Church" echoes the era's signature sound à la Art Blakey's Jazz Messengers, the Miles Davis group with John Coltrane, or Coles/Dorham peer Donald Byrd. Too few Cecil Payne recordings are available in this world, and though this is a transitional period for him, it is essential listening if you are a student of the big-bad horn. ~Michael G. Nastos

Cecil Payne-Duke Jordan 1956-1962 Sessions

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Sunday Wilde - He Digs Me

Bitrate: 320K/s
Time: 51:46
Size: 118.5 MB
Styles: Roots, Blues vocals
Year: 2014
Art: Front

[2:23] 1. He Digs Me
[5:08] 2. Sunday's Midnight Blues
[3:49] 3. Handle Me
[6:02] 4. Show Me Mercy
[2:38] 5. Nobody's Fault
[3:25] 6. Destitution Blues
[4:12] 7. Fall To Pieces
[2:50] 8. I Can't Believe
[3:26] 9. Gimmie One More
[4:39] 10. Black Mountain Blues
[5:40] 11. Sit Around Waiting
[5:17] 12. Crying Shame
[2:10] 13. Walk With Me

Sunday Wilde acclaimed for her powerful primal and intense vocals and unique self taught piano style brings you her fifth recording with subjects that range from loneliness, love, anger, blame and more.

This selection of 13 songs range from dirty blues, blues country, blues ballad, a bit of electric, a bit of acoustic and even some pop. The album is Sunday’s first recording with drums throughout. But no matter which genre you prefer, it is Sunday’s unique vocals and lyrical delivery that make it come together as an emotional story from start to finish.

She is a powerful and intense vocalist, a rare voice that speaks from the primal soul. Sunday is a songwriter who explores the subjects of grief, addiction, love and the torment of family dysfunction. Her lyrics and delivery make it abundantly clear that she speaks from experience and authority. She is a vocalist and piano player and is often joined at shows by upright bass, to make her live performances raw and intense.

He Digs Me

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Kevin Mahogany - Pussy Cat Dues: The Music of Charles Mingus

Bitrate: 320K/s
Time: 55:56
Size: 128.1 MB
Styles: Straight ahead jazz, Mainstream
Year: 2000
Art: Front

[ 5:05] 1. Eclipse
[ 8:04] 2. Pussy Cat Dues
[ 5:09] 3. Portrait
[ 8:35] 4. Reincarnation Of A Love Bird
[20:26] 5. Jelly Roll - Good-Bye Pork Pie Hat - Better Git Hit In Your Soul
[ 8:35] 6. Tonight At Noon

Not since the 1979 effort of Joni Mitchell has a top vocalist taken on the daunting task of recording the music of Charles Mingus. In 1995, Kevin Mahogany was invited by the Cologne-based Bill Dobbins-directed WDR big band (Westdeutscher Rundfunk) to participate in live concert of Mingus music. For this important musical event, Mahogany is joined by ex-Mingus compatriots, alto saxophonist Charles McPherson and trombonist Jimmy Knepper, as well as the big band. Although the concert took place in 1995, it wasn't until July of 2000 that the album was released. After a listen, it's a shame the moguls of the record industry took their time in releasing it.

Listening to Mingus allows one to sample just about everything on the jazz menu. Mingus looked everywhere for his inspiration as he composed some of the most multifaceted music in jazz. It incorporates the blues, free jazz, swing, bop and, of course, reflects the influence of his idol Duke Ellington. Mahogany's command of vocal techniques combined with his visceral feel for the music makes this album the vocalist's best effort to date The task is eased considerably by the way Dobbin crafted his orchestrations to complement Mahogany's approach this music. Despite the presence of this high powered, well-oiled big band, at no time is Mahogany drowned out - quite an achievement. Knepper's smoothed and sometimes clipped toned trombone is heard to excellent advantage on Eclipse as he and McPherson trade choruses on Reincarnation of a Love Bird. Knepper worked with Mingus from 1957 to 1962 and McPherson played for him in 1965. So they are no strangers to the idiosyncracies of Mingus music.

For me the highlight of the session is the four song medley which shows off the distinct flavor of the bassist's compositions. Boogie Stop Shuffle, featuring McPherson's alto, is a swinging tribute to bop. Jelly Roll honors the genius of Jelly Roll Morton while perhaps his most famous piece of music, Goodbye Pork Pie Hat, remains a fervent musical eulogy to Lester Young. While Kevin Mahogany does a couple of choruses on that tune along with some wordless vocalizing on Better Git Hit in Your Soul, the medley is pretty much the property of MacPherson, Knepper and the big band. WDR bassist and American expatriate John Goldsby puts on the mantle of Charles Mingus as he plays a lengthy, intricate and compelling bass solo. ~Dave Nathan

Kevin Mahogany - Vocals; Charles McPherson - Alto Saxophone; Jimmy Knepper - Trombone; Dennis Mackrel - Drums; WDR Big Band: Bill Dobbins - Director; Andy Haderer, Rob Bruynen, Klaus Osterloh, Rick Kiefer, John Marshall - Trumpet; Dave Horfer, George Maus, Bernt Laukamp, Peter Feil - Trombone; Heiner Wiberny, Harald Rosenstein - Alto Saxophone; Olivier Peters, Rolf R

Pussy Cat Dues

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Julia Rich - Moonshine in Nashville

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 51:12
Size: 118,0 MB
Art: Front

(2:45)  1. I'm Putting All My Eggs in One Basket
(2:39)  2. No Love, No Nothin'
(4:09)  3. Moonshine in Nashville
(3:49)  4. The End of the World
(3:07)  5. Wave
(2:02)  6. I Hear Music
(5:10)  7. These Foolish Things
(2:15)  8. Halloween Birthday
(2:56)  9. I'm Happy Just to Dance with You
(4:01) 10. Faraway Places
(2:25) 11. Good Things to Eat
(4:14) 12. At Last
(3:10) 13. You Turned the Tables on Me
(3:08) 14. Til There Was You
(1:40) 15. When My Sugar Walks Down the Street
(3:33) 16. Over the Rainbow

Moonshine in Nasville is Julia Rich's fifth full-length album for Cardinal Records, released March 14, 2009. Longtime girl singer for the Glenn Miller Orchestra, Rich included Miller's 1941 hit At Last on the recording, along with its seldom-heard verse. The album contains several standards from the '20s, '30s, and '40s; a couple from the '60s; and three Rich originals: Moonshine in Nashville, Halloween Birthday, and Good Things to Eat. Tony Migliore's ever-fresh arrangements come off the page in the creative hands of Tony on piano, Jim Ferguson on bass, Bob Mater on drums and percussion, Denis Solee on clarinet, George Tidwell on trumpet and flugelhorn, Pat Bergeson on guitar and harmonica, and Rickey Woodard on saxophone. The closing track, Over the Rainbow, was recorded in 2002 by Julia with Gary Weaver on piano and was rediscovered especially for this collection. Moonshine in Nasville is a straight ahead recording featuring ace musicians and Julia doing what she does best...old-style! ~ Editorial Reviews  http://www.amazon.com/Moonshine-Nashville-Julia-Rich/dp/B001Z0SW0E

Moonshine in Nashville

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Jim Hurst - A Box Of Chocolates

Styles: Country
Year: 2007
File: MP3@320K/s
Time: 57:40
Size: 132,7 MB
Art: Front

(3:11)  1. Chocolate Chaise Loungue
(4:17)  2. Little Baby Child
(4:12)  3. Unlucky Seven
(5:43)  4. Mary Of The Wild Moor
(3:39)  5. Susie Q
(2:49)  6. 'Til There Was You
(3:38)  7. Young At Heart
(4:04)  8. Look Down Hannah
(4:31)  9. Mando Bounce
(2:36) 10. I Ain't Gonna Cry For You
(3:03) 11. Wildcatter
(4:48) 12. Nine Pound Hammer
(3:39) 13. Kentucky Sunrise Waltz
(3:55) 14. Darlin' Tell Me Why
(3:28) 15. C5 A La Mode

A multiple-IBMA award winner and long time member of Claire Lynch's touring band, Jim Hurst is one of the most versatile acoustic guitar players on the contemporary bluegrass circuit. Hurst augments his flatpicking with hints of Merle Travis, and Jerry Reed, bending and sliding until his notes take on an almost vocal quality. As the title implies, A Box Of Chocolates is a sampler, the perfect showcase for Hurst's versatility. There's newgrass Chocolate Chaise Lounge, gypsy swing Mando Bounce, and swampy funk C5 A La Mode. In addition to those solid originals, Hurst scats his way through Nine Pound Hammer and shows delicate restraint on the traditional Mary Of The Wild Moor. Hurst's list of guests is long and impressive Sam Bush, Mark Schatz, Scott Vestal, Michael Cleveland, Viktor Krauss and that barely scratches the surface. Still, the most powerful moments on this album simply involve Hurst alone with his guitar. ~ D. Baxter / No Depression

Jim Hurst is a great bluegrass guitar player, as attested by his multiple wins at IBMA, but he s also very gifted in other styles of music. On his latest CD, A Box Of Chocolates, you get a little taste of the various style s Jim likes to sample from time to time. The songs range from solo guitar instrumentals, to full band pieces with harmony vocals. Some are bluegrass in nature, while others have more of a blues feel, swing approach, or finger-picking style. There are uptempo instrumentals, and slow ballads. A lot of variety, just as you'd expect from A Box Of Chocolates. A Box Of Chocolates contains a lot of different musical tastes, but they are all good. Jim is aware of the difficulty of selling such a product though, as reflected in this comment from the liner notes: Well I ain t ever been a commercially viable produt anyway, so why not record a CD that makes at least one person happy? ME! So, this is it...A Box Of Chocolates. That may be stating it a little strongly, as I m sure Jim will find that many people will find a smile on their face while listening to this latest recording of his. (edited from full review) ~ B. Gillihan / The Bluegrass Blog

Jim Hurst's new CD entitled A Box of Chocolates is, at the risk of using an overused and bombastic cliché, a must-listen for fans of acoustic guitar mastery. As the title of the CD indicates, listening to the CD is like opening an assortment of chocolates, each piece of which has a unique texture and flavor. Hurst's song selection cuts a wide swath and includes everything from standard flat-picking classics such as Nine Pound Hammer, bluesy funk trips like Chocolate Chaise Lounge, remorseful ballads such as Look Down Hannah and Mary of the Wild Moor, and even rock classics re-cast Jim Hurst style like Til There Was You and Suzie Q. The liner notes included with A Box of Chocolates detail some of Hurst's musical influences and include Merle Travis, Django Reinhart, Glenn Miller, Bob Wills, Pete Fountain, and even Jimmy Durante. Yes, Jimmy Durante! 

Hurst handles the guitar duties, of course, and also plays mandolin on several tracks. He carries the lead vocals as well, except on Young at Heart on which he gives up the microphone to Claire Lynch with whom he's previously recorded and toured as a member of the Claire Lynch Band. Special guests on the CD include Lexington's string-master Daniel Carwile who has this to say about Hurst and the CD: Jim Hurst is one of the most versatile guitarists I have ever worked with. If you love the guitar you'll love this CD. Way to go Jim! Best of luck Jim! For me I'll be playing A Box of Chocolates for friends tonight and taking delight in watching feet tap, eyebrows raise, and listeners scramble for the liner notes. (edited from full review) ~ B. Scrivener / MySpace blog 

~ Editorial Reviews  

http://www.amazon.com/Box-Of-Chocolates-Jim-Hurst/dp/B000WW1W1M

A Box Of Chocolates

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Count Basie - The Complete Atomic Basie

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 56:47
Size: 130,8 MB
Art: Front

(2:41)  1. The Kid From Red Bank
(4:12)  2. Duet
(3:26)  3. After Supper
(3:23)  4. Flight Of The Foo Birds
(2:46)  5. Double-O
(3:19)  6. Teddy The Toad
(3:51)  7. Whirly-Bird
(4:28)  8. Midnite Blue
(3:36)  9. Splanky
(2:56) 10. Fantail
(4:50) 11. Li'l Darlin'
(4:05) 12. Silks And Satins
(3:36) 13. Sleepwalker's Serenade
(3:38) 14. Sleepwalker's Serenade (Bonustrack)
(2:51) 15. The Late Late Show (Bonustrack)
(3:02) 16. The Late Late Show (Vocal Version) Bonustrack

One of the reasons that some major labels love to license big chunks of their catalogs to smaller independent outfits for box set reissues is that they never know that those licensees will turn up in putting those sets together, and it all becomes fair game for the parent company. Thus, in 1994, a year after Mosaic unearthed five previously unissued tracks from the October 1957 sessions that yielded The Atomic Mr. Basie on Roulette, Capitol Records (which had acquired the Roulette library) issued this expanded version of the original album. The original 11 songs are here, remastered into proper mono (there was an impossible to listen to duophonic stereo master made at the time of release that was in circulation on LP for a time), along with five outtakes consisting of material written and arranged by Jimmy Mundy: the instrumentals "Silks and Satins," "Sleepwalker's Serenade" (two different takes), and "The Late Late Show" and a vocal version of the latter featuring Joe Williams. 

These were apparently part of a proposed Jimmy Mundy album that never got completed, and were forgotten; they fit in surprisingly well with the Neal Hefti arrangements comprised the original recording, and Joe Williams turns in some of the best work of his career on the vocal version of "The Late Late Show," a sultry, richly intoned performance that positively seduces the listener, with the band blowing beautifully behind him. ~ Bruce Eder  http://www.allmusic.com/album/the-complete-atomic-basie-mw0000187806

Personnel: Count Basie (piano); Joe Williams (vocals); Wendell Culley, Snooky Young, Thad Jones, Joe Newman (trumpet); Henry Coker, Al Grey, Benny Powell (trombone); Marshall Royal, Frank Wess, Eddie "Lockjaw" Davis, Frank Foster, Charles Fowlkes (reeds); Freddie Green (guitar); Eddie Jones (bass); Sonny Payne (drums).

The Complete Atomic Basie

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Kenny Garrett - Seeds From The Underground

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 70:04
Size: 190,0 MB
Art: Front

(9:03)  1. Boogety Boogety
(6:26)  2. J. Mac
(7:37)  3. Wiggins
(7:27)  4. Haynes Here
(4:21)  5. Detroit
(8:08)  6. Seeds From The Underground
(8:16)  7. Du-Wo-Mo
(8:43)  8. Welcome Earth Song
(6:22)  9. Ballad Jarrett
(3:38) 10. Laviso, I Bon?

Kenny Garrett is one of the most respected and frequently imitated saxophonists in the jazz world, but he might not have reached his full potential if not for those who guided him and showed him the way. While some musicians try to rewrite history when they make it big, turning their backs on the nurturing forces and influential individuals that kept them on the righteous path, Garrett doesn't fall into that category. He gives credit where credit is due, and Seeds From The Underground is the proof. Garrett wrote ten musical "thank you" notes for this project, which honors his family, friends, mentors and musical influences. While the songs run the gamut from subdued to explosive, the most impressive material is the edgy, late '60s-influenced fare. Garrett's pianist the underexposed Benito Gonzalez puts a Latin-inflected, postmodern slant on the McCoy Tyner sound, and drummer Ronald Bruner Jr. is relentless, driving the music with punchy fills and on-top-of-the-beat cymbal work. This pairing proves to be potent, and both men can be seen as the combinatorial impetus behind Garrett's most aggressive and outspoken playing. 

Two prime examples come in the form of a hard hitting nod to saxophone maverick Jackie McLean ("J. Mac") and a waltzing tribute to drummer Roy Haynes ("Haynes Here"), but others are scattered throughout. While these men, along with the balancing force, bassist Nat Reeves, paint vivid pictures, two other individuals add extra splashes of color. Nedelka Prescod's wordless vocals help to magnify the emotional intensity in the music ("Detroit"), and percussionist Rudy Bird adds some spice to the Latin-inflected numbers and pan-global performances. While all of these diverse personalities come together in fine fashion, it's Garrett's saxophone that garners the most attention. He can be sunny and playful ("Boogety Boogety"), brash and bold ("J. Mac") or wistful and pensive ("Ballad Jarrett"), but he always displays a melodic bent in his playing, regardless of the mood. That, more than anything else, will likely draw attention toward this record. ~ Dan Bilaswsky  http://www.allaboutjazz.com/seeds-from-the-underground-kenny-garrett-mack-avenue-records-review-by-dan-bilawsky.php#.U_iy82MfLP8
 

Personnel: Kenny Garrett: alto saxophone, soprano saxophone, piano; Nat Reeves: bass; Ronald Bruner: drums; Rudy Bird: bata, percussion; Nedelka Prescod: vocals.

Seeds From The Underground

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Al Grey - The New Al Grey Quintet

Bitrate: 320K/s
Time: 61:27
Size: 140.7 MB
Styles: Bop, Trombone jazz
Year: 1988/1995
Art: Front

[4:59] 1. Bluish Grey
[4:57] 2. Sonny's Tune
[6:04] 3. Don't Blame Me
[5:44] 4. Syrup And Bisquits
[5:16] 5. Taint No Use
[3:05] 6. Al's Rose
[2:19] 7. Night And Day
[5:41] 8. Call It Whatchawanna
[5:45] 9. Underdog
[3:21] 10. Stompin' At The Savoy
[4:14] 11. Al's Blues
[6:32] 12. Rue Prevail
[3:24] 13. Soap Gets In Your Eyes

Veteran trombonist Al Grey leads an unusual quintet on this set from 1988 that, in addition to drummer Bobby Durham, features the sons of Al Cohn (guitarist Joe Cohn), Gerald Wiggins (bassist J.J. Wiggins), and his own Mike Grey on second trombone. The two trombonists have similar sounds, with the elder Grey getting the bulk of the solos. The repertoire mixes together swing standards with lesser-known jazz tunes by Thad Jones, Sonny Stitt, Hank Mobley, Al Cohn, Johnny Griffin, Art Farmer, and Al Grey himself. The relaxed straight-ahead music flows nicely and all of the musicians (other than Durham) have their opportunities to be featured. Worth searching for. ~Scott Yanow

The New Al Grey Quintet

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Terri Krul - In The Still Of The Night

Bitrate: 320K/s
Time: 41:22
Size: 94.7 MB
Styles: Vocal jazz, Easy Listening
Year: 2014.
Art: Front

[2:40] 1. In The Still Of The Night
[4:13] 2. Come Rain Or Come Shine
[3:42] 3. Fly Me To The Moon
[3:38] 4. I'll Be Seeing You
[3:55] 5. Night And Day
[3:17] 6. The Nearness Of You
[2:55] 7. Misty
[3:02] 8. A Sailboat In The Moonlight
[3:31] 9. I Don't Know Enough About You
[2:33] 10. Why Don't You Do Right
[4:41] 11. You Don't Know Me
[3:09] 12. All Right, Okay (You Win)

Terri Krul is a professional jazz and blues vocalist. If the event you’re planning needs music and style to make it memorable, don't settle for any other. Big band jazz will NEVER be out style and is perfect for any occasion. A talented song stylist with an unforgettable voice, Ms. Krul performs some of the greatest songs of all time -- in the great tradition of jazz.

Terri has completed here new album, In the Still of the NIght, which will include original arrangements by producer/pianist, Tad Sisler and musician Andrew Fraga, Jr, and instrumentals by Michael Higgins (guitar) and grammy-award-winning Glen Myerscough (flute/saxophone). Add to the mix the expertise of the multi-talented arranger/guitarist, Peter Sprague, producer Marti Amado, and fabulous engineer, Mike Harris, and the outcome is a jazz hit! The album features favorites such as "Come Rain or Shine" and "In the Still of the Night."

In The Still Of The Night

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Erroll Garner - Mambo Moves Garner

Bitrate: 320K/s
Time: 51:47
Size: 118.5 MB
Styles: Swing, Piano jazz
Year: 1954/1991
Art: Front

[6:29] 1. Mambo Garner
[4:03] 2. Night And Day
[4:53] 3. Mambo Blues
[5:20] 4. That Old Black Magic
[3:51] 5. Cherokee
[3:53] 6. Sweet And Lovely
[3:23] 7. Russian Lullaby
[4:39] 8. Begin The Beguine
[4:09] 9. Mambo Nights
[7:29] 10. Sweet Sue
[3:34] 11. Imagination

For this lengthy session, pianist Erroll Garner added a conga player (Candido) to his trio (which includes bassist Wyatt Ruther and drummer Eugene Heard) for the first time. Throughout the remainder of his career he would occasionally play in the Latin idiom. This CD reissue (which adds two songs from the same session to the original LP program) finds the pianist in typically enthusiastic form and the highlights include "Mambo Garner," "Night and Day," "Cherokee" and "Sweet Sue." ~Scott Yanow

Mambo Moves Garner

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Gary Peterson - Squeeze Me: Ragtime Guitar And Other Oldies

Bitrate: 320K/s
Time: 30:56
Size: 70.8 MB
Styles: Folk-blues guitar, Ragtime
Year: 2010
Art: Front

[2:25] 1. Maple Leaf Rag (Version 1)
[1:58] 2. Deep River Blues
[3:40] 3. Stagolee
[1:49] 4. Cincinnati Flow Rag
[2:01] 5. Mable's Dream
[3:14] 6. Nobody Knows You When You're Down And Out
[2:00] 7. Squeeze Me
[1:59] 8. Maple Leaf Rag [Version 2]
[4:09] 9. Frankie And Johnny
[2:03] 10. Devil's Dream
[2:32] 11. Happy Meeting In Glory
[3:01] 12. I Could Walk A Mile

This was my first solo guitar album after being a musician in London for five years, prior to my move to Paris. My highly coordinated and speedy fingers made me a natural for the finger-picking style on this

album. This CD includes one original composition, "I Could Walk a Mile," as well as ragtime, blues, folk, and other oldies like, "When You're Down and Out."

Squeeze Me: Ragtime Guitar And Other Oldies

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Jane Harvey - All For You

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 36:49
Size: 84,7 MB
Art: Front

(4:01)  1. Ticket To Ride
(3:37)  2. Cabaret
(3:10)  3. Sway
(3:34)  4. Bring Him Home
(3:37)  5. Perfect
(3:13)  6. Use Somebody
(3:04)  7. Can't Take My Eyes Off You
(5:05)  8. Over The Rainbow
(3:50)  9. Summer Of 69
(3:33) 10. Make You Feel My Love

All For You

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Jeff Hamilton - If Dreams Come True

Styles: Jazz, Mainstream Jazz
Year: 2007
File: MP3@320K/s
Time: 75:54
Size: 180,1 MB
Art: Front

(3:04)  1. Rosetta
(4:29)  2. I Surrender Dear
(3:24)  3. If I Were You
(3:47)  4. Moon Country
(4:07)  5. I Wished On The Moon
(4:54)  6. No One Can Take Your Place
(3:14)  7. Liza
(3:14)  8. My Ideal
(3:49)  9. Don't Be That Way
(4:38) 10. Here's That Rainy Day
(4:10) 11. What Is This Thing Called Love?
(4:04) 12. Charmaine
(5:11) 13. B.C. Blues
(5:11) 14. If Dreams Come True
(5:03) 15. Till There Was You
(4:12) 16. My Silent Love
(4:04) 17. Exactly Like You
(5:11) 18. Isle Of Capri

One evening at Chautauqua, after the musical festivities had concluded, I found Hamilton and Barrett chatting around a piano. After the usual banter, Hamilton sat down on the bench, played a good chunk of an up-tempo rag and then turned to some expert, subtle classical playing. Both performances were light-hearted, but they revealed him as a highly accomplished pianist. His quirky sense of humor is best displayed on the second CD's cover picture, which I won't attempt to describe, and its subtitle: Jazz piano exclusively for solo synchronized swimming, an idea whose time may not have come.) I was greatly impressed with Hamilton's pianistic skills that night, but I had no opportunity to hear him improvise in a jazz context until now. Happily for all of us, If Dreams Come True would prove to anyone that he is as fine a jazz pianist as he is a drummer, and that's saying something. 

His solo showpieces, Liza, and Rosetta, both pieces close to Teddy Wilson's heart, reveal an irrepressible swing, wonderfully steady tempos (solo piano is difficult for all but the finest players to keep their compass), a light touch, and an ability to invent dancing alternative melodies that make familiar material seem fresh. Hamilton's stride playing has a powerful onward momentum, but he isn't ever overbearing. He isn't copying the records, but improvising on the tradition and bringing his own flavorings to it. Fittingly, the notes to this CD are by that satisfyingly idiosyncratic pianist Ray Skjelbred. Perhaps the finest testimony to Hamilton's mastery is how he plays well with others: how his playing offers a feeling commentary on Becky Kilgore's creamy, melting My Ideal, creating one of those lovely miniatures that I wanted to play several times before moving on to the next track. His CD presents one stirring, understated but compelling performance after another, primarily duets between Hamilton and a horn player, as well as three trio outings. On one, Eddie Erickson, Dan Barrett and Jeff Hamilton do Till There Was You, with Erickson superbly wistful, crooning his heart out. It is more evidence that Erickson is our Sinatra; I wait for someone to record him with a string quartet. Barrett, Kilgore, and Hamilton create a jaunty If I Were You, with the true 1938 Vocalion spirit. Kilgore, Bobby Gordon and Hamilton take off on the title track, which perhaps should be called When, not If, because this CD succeeds so well. Special mention should go to Hamilton's stepfather, the clarinetist Bill Carter: on his blues, Carter creates a questing, worrying, sometimes querulous castle of sound -- not an imitation of Pee Wee Russell but worthy of him. 

And, in the same breath, Bobby Gordon's walking Charmaine is a superb matching of materials and musician. (On this track and on My Silent Love, Hamilton's rubato opening chorus so tenderly defines the melodic line, something not easy to do.) RAG readers have had two decades to appreciate Dan Barrett's gifts, so I will say only that this CD finds him in plush form, with just the right emotional depth for each performance: a dark, melancholy Here's That Rainy Day, a clipped, witty cornet exploration of Don't Be That Way, and a version of No One Else Can Take Your Place, deep and simple at once. Both Hamilton CDs are delicious auditory evidence of the way the finest jazz musicians play when in front of small, sympathetic audiences. Or, perhaps this is the way they play for themselves: subtle, knowing, enthusiastic, and full of feeling. These discs contain extraordinarily gratifying examples of jazz that is rarely, if ever, captured in recording studios. . I hope Jeff Hamilton gets many more opportunities to make discs like this, on whatever instruments he chooses. 

~ Mississippi Rag March 2008 by Michael Steinman ~ Editorial Reviews  http://www.amazon.com/Dreams-Come-True-Jeff-Hamilton/dp/B000R9RIUE

If Dreams Come True

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