Allison Moorer - Mockingbird

Styles: Country
Year: 2008
File: MP3@320K/s
Time: 47:24
Size: 109,0 MB
Art: Front

(3:16)  1. Mockingbird
(5:43)  2. Orphan Train
(3:23)  3. Where Is My Love
(2:57)  4. I'm Looking For Blue Eyes
(2:59)  5. Ring Of fire
(4:19)  6. Dancing Barefoot
(2:37)  7. I Want A Little Sugar In My Bowl
(3:38)  8. Go, Leave
(5:41)  9. Revelator
(4:28) 10. Both Sides Now
(3:58) 11. Daddy, Goodbye Blues
(4:19) 12. She Knows Where She Goes

Allison Moorer's Mockingbird was released a mere two weeks after her sister Shelby Lynne's Just a Little Lovin', a Dusty Springfield covers tribute. Moorer's album is a natural sounding set of covers that runs the gamut from rock and barrelhouse blues, to jazz, country, and traditional and indie folk. Mockingbird was produced by Buddy Miller and includes a stellar cast of players including husband Steve Earle, Richard Bennett, Julie Miller, Darrell Scott, Tammy Rogers, Tim O'Brien, and Phil Madeira. It feels organic. The set opens with the title cut, the only original. It's a breezy acoustic ballad with warmly layered guitars, a brushed snare, a hi-hat, a B-3, and the Nashville String Machine ensemble. The cut shifts midway and becomes a graceful pop tune kissed by R&B, courtesy of Jim Hoke's tough tenor sax solo. June Carter's "Ring of Fire" is in a very slow 4/4 with violin, viola, and B-3 walking alongside the singer as she lets her voice just ring out over the top. The reading of Patti Smith's "Dancin' Barefoot" has to be heard to be believed. It's a contender for best track on the set. Moorer's enunciation captures what is at the heart of Smith's song, expressing a powerful desire as it surrenders to raw need. The lyrics walk a knife's edge as the singer observes herself in both first and third person. It's awash in blazing electric guitars, tambourines, cymbals, popping drums and organ; they wash through it all violently, yet reflect the lyrics perfectly.

Moorer's take on Nina Simone's "Sugar in My Bowl" is a bluesier one. She can sing anything; her voice sways, swings, and swoops through acoustic guitars, bluesed out keyboards, and whispering drums. It's wonderful to hear Kate McGarrigle's "Go Leave" again, especially given this spare, reverential treatment. It will hopefully create in listeners the desire to investigate the McGarrigle Sisters' own records. Moorer's voice simply allows the song to have its way; she follows its turns with rapt attention. A New Orleans style bass drum, mandolin, Earle's nasty guitar, and a vintage microphone displace time on Ma Rainey's "Daddy Goodbye Blues." Of the remaining tracks, Moorer's interpretation of Julie Miller's "Orphan Train" takes us down a moving path: her father killed Moorer's mother and himself, in front of her and Lynne. Lynne's stirring "She Knows Where She Goes," precedes it. Together they reflect the deliberately forgotten, topically tragic side of the American country tradition Nashville is just plain afraid of songs like this. 

The album nears its end with Chan Marshall's simple yet deeply moving "Where Is My Love," especially as a follow-up to the aforementioned cuts. It feels as if it's sung by a survivor; an empty handed, full-hearted hero who paid the price and has little but loneliness to show for it. When Moorer, Buddy Miller, and company bring it to close with Jessi Colter's lusty "I'm Looking for Blue Eyes," it's as if the circle that began with "Mockingbird" is complete. Moorer, who has followed a restless career path through the wiles of Nashville's machine and lived to tell about it, ups her own ante here both creatively and emotionally. It is her warmest, most ambitious, and gutsy record yet. 

~ Thom Jurek  http://www.allmusic.com/album/mockingbird-mw0000581824

Personnel: Allison Moorer (acoustic guitar, electric guitar, programming, background vocals); Allison Moorer (vocals); Richard Bennett , Richard Rodney Bennett (acoustic guitar, electric guitar); Steve Earle (electric guitar); Darrell Scott (bouzouki); Chris Donohue (bass guitar); Kenny Malone (drums, percussion); Buddy Miller (vocals, acoustic guitar, electric guitar, glockenspiel, percussion); Julie Miller, Ann McCrary, Regina McCrary (vocals); Russ Pahl (steel guitar); Tim O'Brien (banjo); Mike Compton (mandolin); Connie Ellisor, Pamela Sixfin (violin); Tammy Rogers (fiddle); Jim Grosjean (viola); Carole Rabinowitz-Neuen (cello); Chris Carmichael (strings); Phil Madeira (accordion, keyboards); Jim Hoke (saxophone); Neil Rosengarden (trumpet); John Deaderick (keyboards); Bryan Owings (drums); The Nashville String Machine, Tom Howard.

Mockingbird

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Nancy Fox Hall - Just Singin

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 36:16
Size: 83,7 MB
Art: Front

(3:32)  1. You Don't Know Me
(2:14)  2. Walking After Midnight
(2:42)  3. Someone To Watch Over Me
(2:03)  4. Rock-A Bye Your Baby
(2:30)  5. I Don't Know Why
(2:18)  6. How Long Has This Been Going On
(1:52)  7. Cry Me A River
(1:44)  8. Hard Hearted Hannah
(3:49)  9. God Bless This Child
(2:22) 10. I Fall To Pieces
(2:31) 11. Can't Help Lovin' That Man
(2:44) 12. Crazy
(2:52) 13. Funny Valentine
(2:57) 14. Our Love Is Here To Stay

Just Singin' album by Nancy Fox Hall was released May 01, 2014. This album was fulfilling to create ,and I hope it is an enjoyable ensemble for you. It is a collection of some of my favorite tunes from past live participation in shows, musical performances and memorable evenings in cabarets. Just Singin' CD music contains a single disc. http://www.cduniverse.com/productinfo.asp?pid=9224560

Just Singin

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Quincy Jones - Free And Easy!

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 59:47
Size: 137,1 MB
Art: Front

( 2:57)  1. Introduction By Olle Helander
( 3:29)  2. Moanin'
( 3:01)  3. Tickle Toe
( 3:44)  4. I Remember Clifford
( 3:50)  5. Whisper Not
(11:08)  6. The Phanton Blues
( 4:20)  7. Birth Of A Band
( 4:37)  8. The Gypsy
( 4:53)  9. Ghana
(13:01) 10. Walkin'
( 4:42) 11. Big Red

Quincy Delight Jones was born in Chicago on March 14, 1933. When he was a still a youngster, his family moved to Seattle and he soon developed an interest in music. In his early teens, Jones began learning the trumpet and started singing with a local gospel group. By the time he graduated from high school in 1950, Jones had displayed enough promise to win a scholarship to Boston-based music school Schillenger House (which later became known as Berklee School of Music). After a year at Schillenger, Jones relocated to New York City where he found work as an arranger, writing charts for Count Basie, Cannonball Adderley, Tommy Dorsey and Dinah Washington, among others. In 1953, Jones scored his first big break as a performer; he was added to the brass section of Lionel Hampton’s Orchestra. With his ability to dig up promising newcomers, Hamp had, among others, enlisted noted altoist-arranger Gigi Gryce, Clifford Brown and Art Farmer on trumpet, trombonist Jimmy Cleveland, pianist George Wallington and singer Annie Ross. In September, Lionel Hampton took his band to Sweden for the first time and made a tremendous impression on the youngsters with his frenetic rhythmical show. 

Hampton’s band continued the tour through Europe and having reached Casablanca it was decided that a return visit to Sweden was imperative and thus Quincy wrote and arranged tunes for a recording with an All Star band from which the iconic Stockholm Sweetin’ track emerged. Three years later, Dizzy Gillespie hired Jones to play in his band and later in 1956 when Gillespie was invited to put together a big band of outstanding international musicians. Diz chose Quincy to lead the ensemble. Jones also released his first album under his own name that year, a set for ABC-Paramount appropriately entitled This is How I Feel About Jazz. In 1957, Jones moved to Paris in order to study with the renowned Nadia Boulanger, an expatriate American composer with a stellar track record in educating composers, bandleaders and musicians. During his sojourn in France, Jones became friends with the now legendary Eddie and Nicole Barclay and they soon engaged Quincy as musical director and he produced and arranged sessions for Jacques Brel and Charles Aznavour, as well as American artists Billy Eckstine and Sarah Vaughan. In late 1959, the now 26 year old Jones was engaged to create the orchestra for a new musical Free and Easy, the songs for which were written by Harold Arlen and Johnny Mercer. The intention was to tour the show throughout Europe before moving to Broadway, however the show ran into difficulties right from the start. 

After engagements in Amsterdam and Brussels and at the Alhambra in Paris in January 1960, by mid-February amongst bitter recriminations it eventually folded and the 18 musicians and their families were stranded. Having put together and rehearsed such a wonderful band Quincy, to his great credit decided to try to tour the band in it’s own right and for almost a year they struggled on playing concerts in many European countries including Scandinavia, Switzerland, France and Italy but exhausted and desperately short of money Quincy inevitably had to call it a day and return to the States. Fortunately several recordings of the “Free and Easy” band and some film footage were made of concerts given by this outstanding orchestra  just some of the awesome achievements this remarkable man has given to the world in his lifetime. http://www.candidrecords.com/product_info.php?products_id=331

Personnel: Les Spann (guitar, flute); Jerome Richardson (flute, tenor saxophone); Porter Kilbert, Phil Woods (alto saxophone); Budd Johnson (tenor saxophone); Sahib Shihab (baritone saxophone); Clark Terry (trumpet, flugelhorn); Lennie Johnson, Floyd Standifer, Benny Bailey (trumpet); Julius Watkins (French horn); Åke Persson, Jimmy Cleveland, Melba Liston, Quentin Jackson (trombone); Patti Bown (piano); Joe Harris (drums).

Free And Easy!

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The North Star Jazz Ensemble - The Way You Look Tonight

Styles: Jazz, Mainstream Jazz
Year: 1998
File: MP3@320K/s
Time: 61:12
Size: 141,2 MB
Art: Front

(6:10)  1. The Way You Look Tonight
(4:59)  2. Every Time We Say Goodbye
(3:08)  3. Taking A Chance On Love
(5:37)  4. It Never Entered My Mind
(4:27)  5. I'm Old Fashioned
(4:54)  6. What A Wonderful World
(5:15)  7. My One And Only Love
(3:33)  8. On The Sunny Side Of The Street
(3:39)  9. Tangerine
(3:34) 10. I've Got The World On A String
(5:23) 11. I Thought About You
(3:33) 12. Cheek To Cheek
(3:10) 13. Tenderly
(3:44) 14. Stompin' At The Savoy

North Star Jazz Ensemble, as much as any inhabitant of their stable, epitomize the jazz philosophy of New England's North Star label. Get a bevy of good musicians in a studio, give them a play list of familiar standards that are tastefully arranged, and then let them express themselves, with special emphasis on the melody and chord structure which elevated these songs into the standard category in the first place. This does not mean the session is limited to mere recitation of the melody. There is plenty of room for improvisation hear Artie Montanaro's enterprising wending trombone on "The Way You Look Tonight." But the extemporization is not so far out as to dissociate it from the basic melody, losing many of the listeners in the process. 

The members of the ensemble, put together for this recording session, are all well-respected New England musicians. Guitarist Gray Sargent works with Tony Bennett, mouth organ player Mike Turk has been with Donna Byrne and Paul Broadnax, and horn player Jeff Stout with Gary Burton. Each member of the octet gets a chance to display their considerable individual talent. Mike Turk's harmonica takes the spotlight on "I'm Old Fashioned." Bruce Abbott's tenor on "My One and Only Love" recalls John Coltrane's solo on that seminal album with Johnny Hartman. This album is filled with exquisite playing of great American romantic ballads by jazz musicians of the highest caliber. It reminds one just how well this music can sound if played in a forthright, elegant manner without the artifices found on too many CDs. Recommended. ~ Dave Nathan  http://www.allmusic.com/album/the-way-you-look-tonight-mw0000666423

Personnel: Gary Sargent (guitar); Bruce Abbott (soprano saxophone, alto saxophone, tenor saxophone); Jeff Stout, John Allmark (trumpet, flugelhorn); Artie Montanaro (trombone); Paul Mason (drums).

The Way You Look Tonight

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Sarik Peter Trio - Jazz Request Show

Size: 153,3 MB
Time: 65:47
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz
Art: Front

01. Sex Machine - So What (4:49)
02. Allegro Barbaro (4:47)
03. Hotel California (5:36)
04. Ode To Joy (4:54)
05. Don't Give Up (4:46)
06. Theme From 'Mission Impossible' (5:47)
07. Lacrimosa (7:06)
08. Rehab (5:33)
09. Teardrop (7:15)
10. Can't Buy Me Love (4:34)
11. The Winner Takes It All (6:21)
12. Don't Stop Me Now (4:12)

The Jazz Request Show concerts began in 2010 and have been popular ever since. Every three months, we play the songs requested earlier by our audience. No matter what the original style or genre of the song was, we play a jazz version of it.

Peter Sarik, jazz pianist, composer, teacher
He was born in Cegléd-Hungary, in 1972.
He studied at the Liszt Ferenc Academy of Music, where he got his degree in 1997.
Throughout the years, besides the jazz he has proved himself in almost all genres:
he has played classical, popular, Latin, and world music.
Nowdays he’s leading his own Trio and workind together with several artists and bands.

As a composer, he has had huge international success: his compositions received awards in United States and United Kingdom.

Jazz Request Show

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John Taylor - Demons And Angels

Size: 74,3 MB
Time: 31:34
File: MP3 @ 320K/s
Released: 2014
Styles: Folk/Rock
Art: Front

01. The Day I Said Goodbye (2:11)
02. Bible In The Drawer (4:07)
03. Promised Land (3:12)
04. Taste The Rain (2:55)
05. Streetlights (2:49)
06. Autumn (3:30)
07. Heavens Collide (3:17)
08. I Will Be Your Friend (2:40)
09. Different Ways (4:06)
10. The Last Gunfight (2:43)

This is John’s fifth studio album with a new collection of songs following in the footsteps of past releases with some stripped back acoustic songs and some with a full band.

Scottish acoustic singer/songwriter John Taylor was born and raised in Glasgow where he played in many bands before going solo as a singer/songwriter. John Released his first album “Bring the stars alive” in 2009, “A place called Paradise” in 2010 and “Sorrow and Sunshine” in 2011 and plans to release his fourth album in 2012.

John's song "Pull you through" was placed in Golden globe and Emmy winning show "Californication" and sent it into the itunes singer/songwriter charts around the world including No 1 in Sweden, the top 5 in Canada, France, Norway and the Netherlands and the top 10 in Germany, Spain, and Switzerland and no12 in the USA. John released his fourth album in California in June 2012 where he also made his TV debut on the CBS network and shot two music videos as part of a documentary filmed by Bruce Springsteens photographer Joseph Quever. video's of John's song "Pull you through" had more than 500,000 hit's on youtube after the show.

In August 2013 John had his song "Break my bones" placed in hit USA TV show Necessary Roughness and again in December 2013 and March 2014 in the Hit show Revenge reaching viewing figures of over ten million. Safe to say John is on his way up as an independant artist and will release his latest album on September 5th 2014.

Demons And Angels

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Sydney Claire - All Ella

Size: 113,2 MB
Time: 48:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues Vocals
Art: Front

01. Frim Fram Sauce (2:38)
02. Manhattan (3:57)
03. Slap That Bass (3:11)
04. Makin' Whoopee (4:44)
05. Blue Room (2:13)
06. It's Only A Paper Moon (2:20)
07. They All Laughed (2:44)
08. Let's Do It, Let's Fall In Love (3:39)
09. They Can't Take That Away From Me (3:49)
10. Bewitched, Bothered & Bewildered (4:27)
11. Summertime (3:30)
12. Dream A Little Dream (4:02)
13. Rocks In My Bed (3:31)
14. Black Coffee (3:29)

Sydney Claire is an American singer with a long, rich history in jazz and blues. Born and raised in Louisiana, the birthplace of jazz, Sydney Claire is known for her rich, deep, bluesy, soulful voice and fresh vocal interpretations of The Great American Songbook. Critics have described Sydney Claire as the "songstress with the warmest, richest voice of sultry low notes mixed with the feeling of a young girl's innocence and amazing soul stirring vibrato." Her voice is a modern day Ella Fitzgerald. She is being described as the female equivalent of Harry Connick, Jr. and Michael Buble.

Sydney Claire's debut solo artist studio album ALL ELLA is a fourteen track album including such jazz and blues standards as Bewitched, Bothered, & Bewildered, Slap That Bass, Summertime, and Rocks In My Bed. While Sydney has been singing professionally her entire life, the past 20 years have been strongly focused in jazz and blues. Sydney's voice is truly one of a kind. A real joy to the listener. Sydney Claire's voice possesses a remarkably commercial sound with a real and substantive technique that only a lifetime of singing and performing could garner. The industry is taking notice of this iconic Louisiana voice. The new voice of the 21st century.

Sydney's inspiration comes from the rich sounds of such great jazz legends as Ella Fitzgerald, Dizzy Gillespie, Louis Armstrong, Duke Ellington, Charlie Parker, King Oliver, Count Basie, and Cab Calloway. Sydney's blues inspiration comes from the late great Leadbelly, particularly his Black Betty from his Library of Congress recordings, an obvious influence on her blues track Rocks In My Bed.

All Ella

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John Tropea - Gotcha Rhythm Right Here

Size: 170,9 MB

Time: 73:21

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz Funk

Art: Front

01. Gotcha Rhythm Right Here, Pt. 1 (2:15)

02. Black Eyed G's (4:21)

03. Soul Surfin' (4:51)

04. 7Th Avenue South (5:27)

05. Chili Wa Man (5:50)

06. Always In My Heart (6:11)

07. Side By Two (6:34)

08. Bikini Beach (6:46)

09. Les Is Moe' (5:45)

10. Nyc Direct 2014 (7:21)

11. Hip To The Hips (5:19)

12. Gotcha Rhythm Right Here, Pt. 2 (6:43)

13. Boulevard Strut (5:53)

Members: John Tropea (guitar), Lou Marini (sax), Chris Palmaro (Hammond B3), Anthony Jackson (Bass) and Clint de Ganon (Drums).

John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects.

Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. He is also a composer, arranger, and producer whose vital work is ably demonstrated by his personal projects. Tropea has a deserved worldwide reputation as an artist of quality among both audiences and other musicians.

Gotcha Rhythm Right Here     

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Charles Brown - In A Grand Style

Bitrate: 320K/s
Time: 40:29
Size: 92.7 MB
Styles: Urban blues, West Coast blues
Year: 1989
Art: Front

[4:03] 1. One Never Knows, Does One
[4:20] 2. Stand By You
[4:54] 3. Black Night
[3:09] 4. You Gave Me Everything But Love
[4:19] 5. Give Me A Woman
[3:33] 6. Hard Times
[1:02] 7. Charles Chopin Liszt
[6:45] 8. Sorry Baby
[3:54] 9. Stumbled And Fell In Love
[4:28] 10. Wouldn't It Be Grand

This posthumously released material -- mostly classic and classy love songs -- puts an exclamation point on the career of a true American music legend, a legitimate grand master in more ways than one. It is not, as the back cover states, a "solo piano album." Charles Brown does, in fact, sing on all the cuts save one, but there's no rhythm section or soloist to help. It's simply Charles Brown, all soulful, with light-colored blues, gently swinging but by himself. There are classics like "Black Night," "Stumbled and Fell in Love," the curious "One Never Knows, Does One?" and Little Walter's slightly raucous "Give Me a Woman." Brown's classical background on "Charles' Chopin Liszt" unleashes a cascading, tinkling, arpeggiated side rarely heard. Other intros also showcase this part of Brown's musicianship. Everything on the record, except for "Liszt," is a slow, cigarette-type smoldering blues that is sometimes downhearted, other times hopeful. But the lyrics of Brown's original "Wouldn't It Be Grand" speaks volumes about his hope for our future: "Wouldn't that be grand, if and when we die, we unite together in the sky/Get together, take our stand, glory land/Wouldn't that be grand." ~Michael G. Nastos

In A Grand Style

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Vanessa Pinheiro - S/T

Bitrate: 320K/s
Time: 48:08
Size: 110.2 MB
Styles: Latin jazz vocals
Year: 2000
Art: Front

[3:16] 1. De Papo Pro Ar
[4:15] 2. Monção
[5:10] 3. Vidigal
[3:33] 4. Informações De Bordo
[3:48] 5. Pobres Mortais
[3:33] 6. Agua De Beber
[4:05] 7. Ponto Final
[4:43] 8. Temporal
[4:17] 9. Sol Na Varanda
[4:18] 10. Nos Teus Olhos
[3:32] 11. Ver No Que Vai Dar
[3:33] 12. Roda Viva

Vanessa Pinheiro, born 1980, is a Brazilian singer and songwriter from Brasília. Pinheiro has released two solo albums, both produced by world renowned jazz bass player Arthur Maia. Her music is influenced by MPB and Bossa nova.

Vanessa Pinheiro

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Toots Thielemans - Two Generations

Bitrate: 320K/s
Time: 46:28
Size: 106.4 MB
Styles: Bop, Contemporary jazz
Year: 2008
Art: Front

[3:18] 1. Bluesette
[4:57] 2. Bé Bé Créole
[4:11] 3. Monologue
[4:12] 4. Two Generations
[3:51] 5. Why Did I Choose You
[6:44] 6. Uncle Charlie
[3:49] 7. Friday Night
[6:11] 8. T.T
[3:43] 9. Inner Journey
[5:28] 10. L'éternal Mari

This date featuring harmonica virtuoso Toots Thielemans with guitarist Philip Catherine, pianist Joachim Kuhn, and others is a bit unusual in that almost all of the music was composed by the players, save a Brazilian-flavored take of "Why Did I Choose You." The leader's very popular "Bluesette" features just harmonica and guitar, while his "Be Be Creole" (introduced by Toots as "Blues for Lulubelle") and "Uncle Charlie" are curious blends of jazz, rock, and blues. The remaining works by Thielemans and his friends are not as strong, making this overall a CD that can be bypassed by all except the most rabid Thielemans fans. ~Ken Dryden

Two Generations

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Stacy Sullivan - At The Beginning

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 38:46
Size: 89,2 MB
Art: Front

(2:22)  1. You Must Believe In Spring
(3:08)  2. Your Face, Your Smile
(2:16)  3. Have Had
(3:19)  4. Come The Wild, Wild Weather
(3:38)  5. At The Beginning
(3:08)  6. Carpet Ride
(3:09)  7. Ship In A Bottle
(3:09)  8. On Broadway
(2:26)  9. Don't Move A Muscle
(2:34) 10. I Know A Place
(2:29) 11. Always/Remember
(4:23) 12. Someone To Watch Over Me
(2:37) 13. Once Upon A Time

Los Angeles cabaret performer Stacy Sullivan's debut album features a variety of both familiar and unfamiliar material, all dealing with life's vagaries, especially the ups and downs of romance. Sullivan has a lovely voice  pure and smokey. She is also quite adept in the use of dynamics, as her vocal delivery fits the emotion being expressed in the lyrics. Having worked in musical theatre, Sullivan possesses a strong voice that can be heard in the last row of the balcony. However, she uses it with discretion, singing with passion, but rarely with gusto. Even on a tune like "Someone to Watch Over Me," where a little exuberance is justified, Sullivan holds back. She lets loose on sister Heather Sullivan's joyous "Carpet Ride," with background supplied by the energetic bowing of Stephanie Fife's cello. 

But it's the folksy-done ballad material  such as "Ship in a Bottle," "Once Upon a Time," and the Irving Berlin medley "Always"/"Remember" which brings out that sweet, sincere quality of Sullivan's vocal style. John Boswell, who appears on most of the LML label's cabaret releases, is here with his piano and arrangements. Veteran harpist Corky Hale puts in an appearance, adding to the album's class. At the Beginning is tasteful cabaret delivered by one of the better practitioners of the style. Watch out for the last track it's not over when one thinks it is. After a couple of seconds, Sullivan is joined by her young daughter for a giggling coda. Perhaps for her next album, listeners can hear more of the power in her voice waiting to be let loose. ~ Dave Nathan  http://www.allmusic.com/album/at-the-beginning-mw0000055186

Personnel: Stacy Sullivan (vocals); David Boswell (guitar); Stefanie Fife (cello); John Yoakum (flute, piccolo, clarinet, soprano & alto saxophones, English horn); Corky Hale (harmonica); John Boswell (piano, synthesizer, background vocals); Bob Mair (bass); M.B. Gordy (drums, percussion).

At The Beginning

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Al Viola - If You Love Me, Really Love Me

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 23:28
Size: 54,4 MB
Art: Front

(1:43)  1. I Love You Much Too Much
(2:22)  2. He's My Guy
(2:09)  3. Comme Ci comme Ca
(2:24)  4. The End Of A Love Affair
(2:54)  5. Black Coffee
(2:07)  6. Sing A Song Of Sadness
(2:26)  7. Lover Man
(3:25)  8. If You Love Me, Really Love Me
(2:17)  9. A Sunday Kind Of Love
(1:37) 10. All Or Nothing At All

A reliable guitarist with a cool tone, a hard-swinging style, and strong technical skills, Al Viola had been an asset to every session that he appeared on, and there have been many. Viola played in a jazz band while in the Army (1942-45), where he met Page Cavanaugh. When they both decided to move to California after their discharge in 1946, they teamed with bassist Lloyd Pratt to form a trio that was very popular during the next three years, appearing in a few Hollywood films (including "A Song Is Born") and recording frequently. The trio accompanied Frank Sinatra on a few occasions during 1946-1947, and when the combo broke up, Viola started working on and off with Sinatra though 1980. In addition, Viola became a very busy studio musician in Los Angeles, performing on the soundtracks of a countless number of films (including playing the prominent mandolin part in The Godfather), television shows, and commercials. 

Among his more jazz-oriented associations have been engagements with Bobby Troup, Ray Anthony, Harry James, Buddy Collette, Stan Kenton, Gerald Wilson, and Terry Gibbs among many others; in addition to Collette, Viola also recorded in the 1950s and '60s with Jimmy Witherspoon, Helen Humes, and June Christy. In the 1980s, Viola had a reunion with Cavanaugh and soon they were working together on a regular basis in a Los Angeles area club as a trio with bassist Phil Mallory; this association continued into the late '90s, when Viola dropped out of the group. In his career, Viola led three albums, unaccompanied solo dates for Mode (from 1957, reissued by VSOP) and Legend, plus a Frank Sinatra tribute album for PBR (1978); highlights of the latter two sets were reissued on a CD by Starline. Shortly after being diagnosed, Viola succumbed to cancer on February 21, 2007. He was 87. Bio ~ https://itunes.apple.com/pt/artist/al-viola/id36785276#fullText

If You Love Me, Really Love Me

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Al Grey - Night Song

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 33:20
Size: 76,5 MB
Art: Front

(5:19)  1. Blues In The Night
(6:08)  2. Stella By Starlight
(4:52)  3. The Way You Look Tonight
(4:12)  4. Through For The Night
(5:22)  5. Stardust
(4:28)  6. Night And Day
(2:55)  7. Laughing Tonight

Trombonist Al Grey was famous as “the last of the big time plungers,” for his mastery at using a plumber's plunger to manipulate the color of his instrument. The result was a soulful quality that sounds as if he's singing the blues. Grey rose to prominence as a soloist and gifted accompanist to singers, particularly on bluesy numbers. His unique style developed over years spent playing with many great bands ” such as those of Lionel Hampton and Count Basie,” and his illustrious career spans some of the great periods in the history of jazz, including swing and bebop. Grey came from a musical family. His father, a multi-faceted musician himself, was determined to have young Al learn to play a brass instrument. As a child, Grey often resented being forced to practice, but soon realized its benefits by landing well-paying jobs. Later, while playing in the Navy band during World War II, Grey met trumpeter Clark Terry. The two became lifelong friends and would eventually play in various bands together. Grey joined Benny Carter's band right out of the Navy in 1946. Carter's innovative arrangements and driving swing served as an education for Grey. He also played with Jimmie Lunceford before joining Lionel Hampton's big band. 

It was with Hampton that he began experimenting with the plunger. Hampton noticed the trombonist's facility with the technique as Grey accompanied vocalist Sonny Parker one night, and insisted that Grey keep it as a permanent feature of the band. Dan Morgenstern of the Institute for Jazz Studies notes that jazz musicians often try to squeeze new sounds out of their instruments. This started as far back as King Oliver in New Orleans, who used to hold a child's sand pail in the bell of his trumpet. The plunger became recognized as a very effective device for such purposes. Trombonist Sam Nanton of Duke Ellington's band was recognized as a master plunger, but he died in 1947 without revealing the secrets to his own technique. From that point, Grey became the heir to the plunger tradition. After several years with Hampton, Grey played a year-long stint with Dizzy Gillespie's band, learning the language of bebop, and then joined Count Basie's orchestra in 1957.

Basie's emphasis was on simplicity, and he discouraged some of the fast-playing bebop elements Grey had recently developed. During the recording of “Making Whoopie,” Basie cautioned Grey against overplaying, saying “my goodness don't try to play all you know in one number.” But Grey's individual style meshed perfectly with Basie's orchestra, and “Making Whoopie” would become the trombonist's signature piece. Grey excelled at mixing little blues licks in among the phrases of singers with perfect timing and sensitivity. He honed this unique ability during his early years with the Basie orchestra. Before long, his colorful technique as an accompanist was highly prized among famous singers, including Lena Horne, Tony Bennett, Frank Sinatra and Ella Fitzgerald. Eventually, Grey grew restless with the demands of playing in a large ensemble and left Basie's group to experiment with his solo style. Grey also developed a passion for teaching. 

He created a jazz summer camp in his hometown of Pottstown, Pa., where he recruited other jazz greats in to help him teach swing to high school students. Among them were drummer Max Roach, saxophonist Jimmy Heath and pianist Billy Taylor. Grey's students included accomplished professionals, such as Wynton and Delafayo Marsalis, whom he taught his famous plunger techniques. According to fellow Basie alumnus and tenor saxophonist Frank Foster, Grey made an immense contribution to the jazz trombone. “He played a great role in changing the conceptualization of the trombone as an instrument in jazz,” said Foster, adding that Grey revived and elaborated upon the plunger technique “and influenced lots of young players to get into it.” Fortunately, Grey understood the importance of passing his secrets on to younger trombonists, ensuring that this craft will maintain its place in jazz. Grey died on March 24, 2000. Bio ~ http://musicians.allaboutjazz.com/algrey

Personnel:  Al Grey – trombone; Billy Mitchell - tenor sax; Dave Burns – trumpet; Bobby Hutcherson – vibraphone; Earl Washington – piano; Herman Wright – bass; Otis "Candy" Finch – drums; Philip Thomas - conga

Night Song

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Abdullah Ibrahim - Dukes Memories

Styles: African Jazz, World Fusion
Year: 2008
File: MP3@320K/s
Time: 42:27
Size: 97,8 MB
Art: Front

(3:40)  1. The Wedding
(3:56)  2. Black And Brown Cherries
(3:27)  3. For Coltrane
(3:10)  4. In A Sentimental Mood
(7:18)  5. Angelica-Purple Gazelle
(6:13)  6. Star Crossed Lovers
(4:21)  7. Way Way Back
(4:08)  8. Virgin Jungle
(6:10)  9. Water Edge

South African pianist Abdullah Ibrahim recorded several tributes to his mentor Duke Ellington, and Duke's Memories is certainly one of the finest. Adroitly choosing some under-recognized beauties of Ellingtonia, adding a standard, and mixing in a few originals, Ibrahim delivers a well-balanced and frequently gorgeous program. The opening "Star Crossed Lovers" includes a heart-rending alto solo by one of the best saxophonists few people know (Carlos Ward), and the obscure, jaunty "Way Way Back" is given a delightful, in-the-pocket reading. Tracks five through nine are from a live date, beginning with Ibrahim's moving, stately "The Wedding," which he seems to have recorded on virtually every album he issued during the '80s; it receives one of its better renditions here. The leader, as is his wont, tends to stay in the background, eschewing the star soloist role and preferring to direct the quartet from the keyboard, though he steps out front with some rich playing on "In a Sentimental Mood." A rippling medley of Ellington's "Angelica" and "Purple Gazelle" closes out the album in delightful fashion, rounding out a deeply felt performance. Recommended. ~ Brian Olewnick  http://www.allmusic.com/album/dukes-memories-accord-mw0000187902

Personnel:  Alto Saxophone, Soprano Saxophone, Flute – Carlos Ward; Bass – Rachim Ausar Sahu; Drums – Andrei Strobert; Piano – Abdullah Ibrahim

Dukes Memories

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Trish Hatley - Sing, Ask And It Is Given

Size: 82,8 MB
Time: 35:19
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Blues, Bossa Nova
Art: Front

01. I'm Getting Better Everyday (2:23)
02. Attitude Of Gratitude (3:22)
03. Doin' The Right Thing (2:14)
04. I'm In The Process (2:59)
05. Good Good Vibrations (3:03)
06. Gettin' Better (3:29)
07. I Love Myself (3:00)
08. Sing, Ask And It Is Given (3:32)
09. I'm Living In Peace Snd Ease (2:57)
10. I'll Raise My Vibration (3:23)
11. Pure Desire (Fill In The Blanks) (2:22)
12. I'm Living In The Positive (2:31)

Trish Hatley captivates and enchants her listeners with her soaring vocals and effervescent style. Whenever Trish performs, her unique sense of phrasing and drama absolutely fascinates all assembled. Known for bringing to the Northwest first-class music programs, Trish has been an active part of the Northwest music scene by “makin’ it happen!” Trish’s talents as a jazz vocalist and entertainer are equaled by her history as a producer and catalyst for the local jazz scene. Jazz Sundays at the Conway Tavern, which lasted for half a decade, was Trish’s project. She’s produced shows such as The Great American Songbook, Isn’t It Romantic, A Fifth of Jazz and Women In Song. In addition to her work with Trish Hans & Phil, Trish has her own quartet that she loves to work with. A large loyal following keeps Trish’s music scenes warm and friendly. Trish brings an exhilarating sense of showmanship to the stage, always leaving her fans wanting more.

Sing, Ask And It Is Given

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Ahmad Jamal & Yusef Lateef - Live At The Olympia June 27, 2012

Size: 147,2+99,3 MB
Time: 63:29+42:46
File: MP3 @ 320K/s
Released: 2014
Styles: Mainstream Jazz
Art: Front

CD 1:
01. Autumn Rain (Live) ( 8:14)
02. Blue Moon (Live) ( 8:33)
03. The Gypsy (Live) ( 4:08)
04. Invitation (Live) (11:12)
05. I Remember Italy (Live) ( 7:43)
06. Laura (Live) ( 5:00)
07. Morning Mist (Live) ( 8:21)
08. This Is The Life (Live) (10:14)

CD 2:
01. Exatogi (Live) (13:36)
02. Masara (Live) ( 6:31)
03. Trouble In Mind (Live) ( 3:45)
04. Brother Hold Your Light (Live) ( 5:56)
05. Blue Moon (Encore) (Live) ( 3:37)
06. Poinciana (Live) ( 9:18)

This set from the legendary jazzmen Ahmad Jamal and Yusef Lateef proves that these veteran musicians have ideas that are as fresh as any they have ever had. Live at the Olympia is available as a 2 CD and DVD set, with the first disc featuring a set by Jamal at the piano with his quartet, featuring Reginald Veal on double bass, Herlin Riley on drums, and Manolo Badrena on percussion. Lateef joins this quartet on the second disc, adding his own distinctive brand of woodwind playing and singing to the trio’s eclectic sound. Following is the album trailer:

The first disc is perhaps the more consistent of the two, with Jamal and his trio locking into a set of familiar tune formulas. Jamal performs three of his own compositions—“Autumn Rain,” “I Remember Italy,” and “Morning Mist”—along with several standards. While Jamal’s original tunes are certainly interesting and competently executed, the disc’s most memorable cuts are the group’s creative renderings of jazz standards: a somewhat fragmented Latin feel on “Blue Moon,” a driving, in-the-pocket rendition of “Invitation” that allows Jamal and company to stretch out, and a stop-and-start rendering of “Laura.” As would be expected from an artist of Jamal’s caliber, the playing on these cuts is excellent; Jamal presents his signature bursts of Monk-tinged dissonance, and continually trades musical cues with his bandmates, all the while maintaining a lyrical sensibility and technical precision (as is evident in the rhythm section’s lock-step groove on “Invitation” or Jamal’s blistering right hand runs during “Blue Moon”). A performer known more for his renderings than his compositions, it is no wonder that much of the strongest playing on this side occurs when the band reimagines tunes written by other composers.

The best moments on the second disc occur when the late saxophonist, flautist, and vocalist Lateef pushes Jamal’s group out of their musical comfort zone, as he does on his mostly free-form composition “Exatogi,” seamlessly transitioning to his somewhat more conventional “Masara,” although this cut is complete with dissonant flute yelps. Lateef further pulls the group into a gospel-tinged hard bop idiom, contributing vocals on “Trouble in Mind” and “Brother Hold Your Light.” He does not appear, however, on the album’s last two tracks: a reprise of “Blue Moon” and Jamal’s signature 1963 hit, “Poinciana.” Had Lateef been more prominent on this set, it may have felt like he had an actual presence in the band (particularly since his name is included in the album’s title), rather than serving simply as an excellent and challenging guest performer.

Although the listener may desire more of Lateef’s challenging presence, this is still a strong record. In a contemporary jazz scene replete with consistent releases by perennial favorites playing in their long-maintained signature styles, Live at the Olympia showcases two veteran performers who were still at the top of their games. The group’s reinterpretations of the standards that they play in this concert will have collegiate jazz combos everywhere scrambling to find the grooves that this band was able to lock into, while their originals provide a study in advanced jazz composition, even if they do not lend any additions to the standard repertoire. This is a solid release by accomplished jazz masters. ~Reviewed by Matthew Alley

Live At The Olympia June 27, 2012 CD 1
Live At The Olympia June 27, 2012 CD 2

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Laurie Antonioli - Songs Of Shadow, Songs Of Light: The Music Of Joni Mitchell

Size: 140,1 MB
Time: 59:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. People's Parties (2:38)
02. Rainy Night House (4:57)
03. Barangrill (3:24)
04. Eastern Rain (4:24)
05. Cold Blue Steel And Sweet Fire (4:49)
06. Both Sides Now (5:15)
07. Hissing Of Summer Lawns (4:54)
08. Woman Of Heart And Mind (5:00)
09. This Flight Tonight (4:31)
10. River (5:02)
11. I Don't Know Where I Stand (4:33)
12. California (4:30)
13. Marcie (5:47)

The concept of a jazz-informed program of Joni Mitchell tunes isn't exactly novel anymore. Herbie Hancock's high profile River: The Joni Letters (Verve, 2007) took home two Grammy Awards; vocalist Tierney Sutton got some well-deserved attention when she put her own spin on Mitchell's work with After Blue (BFM, 2013); somewhat under-the-radar releases from artists like David Lahm and Rachel Z have made something of an impact on a smaller scale; and numerous other albums that aren't necessarily built around Mitchell's work have been sprinkled with her songs.

Joni Mitchell has become something of a lodestar for a jazz community that appreciates the range of her artistry, power of her music and words, and arc of her career, moving from folk singer to heart-baring emotional conduit to jazz-informed songstress to post-modern poetess and idol. Taking all of that into consideration, it's easy to see why so many have found comfort, promise and possibility in the experience of interpreting her work. But the question that still remains Does the jazz world really need another album of Joni Mitchell songs? is a valid one. In theory, it does not. But when the album in question is shaped by the voice of Laurie Antonioli, the answer is yes.

Antonioli's Songs Of Shadow, Songs Of Light is an invaluable collection that looks at some of Mitchell's infrequently-covered work with a truthful gaze. Only two numbers "Both Sides Now" and "River"—are covered with regularity. The other eleven tunes, including "Marcie," "Eastern Rain," and "People's Parties," are largely ignored, and that's a shame. In the right hands in this case, Antonioli's hands they're works of pure magic. This music is putty in those hands, but Antonioli doesn't bend the songs into radically new and unrecognizable shapes. She works an angle that's highly sympathetic to Mitchell. The tone and timbre of her voice are extremely well-suited to Mitchell's music, she captures the spirit of the songs, and her longtime working band finds a way to deliver those songs in faithful-yet-original fashion.

Much is often made of a singer's need to live within the songs and stories he or she spins, but many simply pay lip service to that idea without truly thinking about it. Antonioli thinks a good deal about it and actually does it. She inhabits every song that she sings, threading herself into fabric of the music. That's been apparent on every one of her releases, but never more than here. Hearing her work with pianist Matt Clark and multi-reedist Sheldon Brown on "I Don't Know Where I Stand," listening to her confidently bring "Barangrill" to life, and feeling her vulnerability on "River" are just a few examples of the way she makes this music her own without having to paint over what Mitchell created in the first place. Antonioli's stunning Songs Of Shadow, Songs Of Light is true to Joni Mitchell and true unto herself. ~Dan Bilawsky

Personnel: Laurie Antonioli: vocals; Matt Clark: piano, Hammond B-3, Fender rhodes; Dave Mac Nab: guitar; John Shifflett: bass; Jason Lewis: drums; Sheldon Brown: bass clarinet, clarinet, soprano saxophone, tenor saxophone; Theo Bleckmann: vocals (1).

Songs Of Shadow, Songs Of Light

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Tommy Dorsey - The Sentimental Gentleman Of Swing (Original Songs Remastered)

Size: 281,4 MB
Time: 120:31
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Big Band, Swing
Art: Front

01. It's Right Here For You (3:05)
02. Lovely Lady (3:06)
03. Santa Claus Is Coming To Town (3:24)
04. After You've Gone (2:57)
05. Sleep (2:47)
06. Three Moods (2:56)
07. You (2:47)
08. Alone (3:33)
09. Head Over Heels In Love (2:45)
10. You Can't Cheat A Cheater (2:56)
11. For Sentimental Reasons (3:22)
12. Ja Da (2:22)
13. One Night In Monte Carlo (3:04)
14. Tiger Rag (2:49)
15. Weary Blues (3:18)
16. Just A Simple Melody (2:38)
17. Got A Bran' New Suit (2:26)
18. Barcarolle (2:55)
19. Keepin' Out Of Mischief Now (2:46)
20. Weary (3:13)
21. You Are My Lucky Star (3:38)
22. I Picked A Flower The Color Of Your Eyes (3:25)
23. Another Perfect Night Is Ending (2:59)
24. I've Got A Note (2:46)
25. Rhythm In My Nursery Rhymes (2:42)
26. Close To Me (3:05)
27. Maple Leaf Rag (2:32)
28. Two Hearts Carved On A Lonesome Pine (3:12)
29. Down With Love (2:45)
30. Love Will Live On (3:22)
31. The Day I Let You Get Away (2:51)
32. Hymn To The Sun (2:38)
33. Please Believe Me (3:10)
34. Tea On The Terrace (2:48)
35. I'm Getting Sentimental Over You (3:35)
36. I'm Shooting High (2:37)
37. It's Written In The Stars (3:28)
38. Pagan Star (3:23)
39. I'm In A Dancing Mood (2:47)
40. Take Me Back To My Boots And Saddle (3:21)

Thomas Francis "Tommy" Dorsey, Jr. (November 19, 1905 - November 26, 1956) was an American jazz trombonist, trumpeter, composer, and bandleader of the Big Band era. He was known as "The Sentimental Gentleman of Swing", because of his smooth-toned trombone playing. Although he was not known for being a notable soloist, his technical skill on the trombone gave him renown amongst other musicians. He was the younger brother of bandleader Jimmy Dorsey.

The Sentimental Gentleman Of Swing

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Bobby Broom - Upper West Side Story

Bitrate: 320K/s

Time: 59:55

Size: 137.2 MB

Styles: Guitar jazz

Year: 2012

Art: Front

[6:50] 1. D's Blues

[4:54] 2. Upper West Side Story

[8:46] 3. After Words

[6:58] 4. Minor Major Mishap

[6:24] 5. Lazy Sundays

[3:25] 6. Fambrocious (For Fambrough)

[7:43] 7. Father

[6:12] 8. Call Me A Cab

[8:40] 9. When The Falling Leaves..

One of the top guitarists of his generation, Bobby Broom's preferred setting is a small group, while he excels in the demanding trio setting with bassist Dennis Carroll and drummer Kobie Watkins (with Makaya McCraven replacing him on three songs). Upper West Side Story includes nine originals, none of which is likely to become a jazz standard, but all of which are stimulating. "D's Blues" has an engaging hard bop hook that pulls the listener in immediately, while "Upper West Side Story" suggests a walk in Manhattan on a breezy spring day, with an infectious Latin undercurrent. The loping "Minor Major Mishap" takes its time to develop, though Broom's intricate solo bustles with energy. "Fambrosicous" is dedicated to the late bassist Charles Fambrough, an engaging vehicle that starts as bop but detours into some wild improvising. "When the Falling Leaves..." is a subdued ballad with a melancholy air, with the rhythm section providing soft, spacious accompaniment that completes the mood that Broom seeks. Recommended. ~Ken Dryden

 

Upper West Side Story

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