Brew Moore - West Coast Brew: Quartet & Quintet Sessions (1955-58)

Bitrate: 320K/s
Time: 75:39
Size: 173.2 MB
Styles: Cool, West Coast jazz, Saxophone jazz
Year: 2012
Art: Front

[4:23] 1. Fools Rush In (Where Angels Fear To Tread)
[4:55] 2. Them There Eyes
[5:02] 3. Tea For Two
[4:45] 4. Five Planets In Leo
[4:22] 5. I Can't Believe That You're In Love With Me
[4:05] 6. Them Old Blues
[4:40] 7. Rose
[4:20] 8. Rotation
[3:24] 9. I Want A Little Girl
[7:29] 10. Edison's Lamp
[3:16] 11. Nancy With The Laughing Face
[7:03] 12. Rhode Island Red
[6:00] 13. Marna Moves
[4:39] 14. Pat's Batch
[7:08] 15. Dues Blues

West Coast Brew: Quartet & Quintet Sessions 1955-1958 combines two of tenor saxophonist Brew Moore's early albums for the Fantasy label: 1956's The Brew Moore Quintet and 1958's Brew Moore. A journeyman musician with an itinerant's penchant for living gig to gig, Moore was a Lester Young acolyte and these dates find him in superb cool jazz form. Joining Moore here is a handful of lesser-known musicians, including pianist John Marabuto, trumpeter Dick Mills, tenor saxophonist Harold Wylie, and others. Interestingly, future Peanuts composer pianist Vince Guaraldi is featured on the latter dates in 1958. Although these dates are available in various reissues, it's nice to have them all collected on one disc, given that they all originate from a specific time and place in Moore's early career. ~ Matt Collar

West Coast Brew: Quartet & Quintet Sessions (1955-58)

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The Jive Aces - Recipe For Rhythm

Styles: Jazz, Swing
Year: 2008
File: MP3@320K/s
Time: 51:33
Size: 118,9 MB
Art: Front

(2:52)  1. Aces Shuffle (feat. Jeremy Wakefield & Miss Carmen Getit)
(3:26)  2. Something Can Be Done About It (feat. Miss Carmen Getit & Steve Lucky)
(3:29)  3. Love Me or Leave Me (feat. Mark Isham)
(3:44)  4. Buona Sera (feat. Toni Elizabeth Prima)
(3:06)  5. Once More (feat. Chick Corea) The Jive Aces, Chick Corea 3:06 Not Available
(2:50)  6. London Rhythm (feat. Vic Flick)
(3:34)  7. Fever The Jive Aces
(4:37)  8. Affinity, Reality and Communication (feat. Mark Isham)
(3:54)  9. The Few The Jive Aces
(3:31) 10. Up a Lazy River The Jive Aces
(3:47) 11. Summertime (feat. Chick Corea)
(3:00) 12. Happy All the While (feat. Jeremy Wakefield)
(3:12) 13. Sway The Jive Aces
(3:01) 14. Heading Home (feat. Miss Carmen Getit)
(3:21) 15. We'll Meet Again (feat. Mr. Acker Bilk & Toni Elizabeth Prima)

2008 album from the UK's top Jive/Swing band. Since forming in 1989, this six piece group have performed all around the world and starred on TV and radio, and at festivals, theatres, clubs and top charity and corporate events. They are renowned for their high-energy Jump Jive music (an exciting blend of Swing, R&B, Rock 'N' Roll, Boogie Woogie and Jump Blues) and their spectacular stage show. Sit back and enjoy this collection of outstanding tracks, or just get up and dance! This album follows the overwhelming success of the band's previous albums Our Kinda Jive, Bolt From The Blue, Planet Jive, Life Is A Game and Dance All Night. Right Recordings. ~ Editorial Reviews  

http://www.amazon.com/Recipe-Rhythm-Jive-Aces/dp/B001IAU5A6

Recipe For Rhythm

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Claire Austin - Claire Austin Sings When Your Lover Has Gone

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 68:39
Size: 157,9 MB
Art: Front

(4:33)  1. When Your Lover Has Gone
(3:43)  2. Can't We Talk It Over
(3:56)  3. My Melancholy Baby
(4:41)  4. I'll Never Be the Same
(4:08)  5. Lover, Come Back to Me
(4:05)  6. The House Is Haunted
(4:14)  7. I'm Thru With Love
(4:28)  8. Someone to Watch over Me
(4:11)  9. Come Rain or Come Shine
(4:11) 10. What Is This Thing Called Love?
(2:48) 11. The World's Jazz Crazy
(3:16) 12. Down Hearted Blues
(3:58) 13. See See Rider
(2:57) 14. Good Time Flat Blues
(3:17) 15. Careless Love
(3:12) 16. Nobody Knows When You're Down And Out
(3:15) 17. Mecca Flat Blues
(3:36) 18. 'Fore Day Creep

The history of jazz and blues is full of talented artists who were obscure but didn't deserve to be. One example is Claire Austin, an expressive jazz/blues vocalist who was as proficient with intimate, introspective torch singing as she was with more extroverted classic blues. Claire Austin Sings When Your Lover Has Gone was recorded for Contemporary in 1955 and 1956, and finds Austin favoring vulnerable, relaxed, subtle torch singing (her phrasing could be described as an appealing combination of Mildred Bailey, Peggy Lee, and Billie Holiday). As a torch singer, she embraces the songbooks of great pop composers like Harold Arlen, Cole Porter, and the Gershwin Brothers. 

~ Alex Henderson  http://www.allmusic.com/album/claire-austin-sings-when-your-lover-has-gone-mw0000267679

Personnel: Claire Austin (vocals); Bob Scobey (trumpet); Kid Ory (trombone); Stan Wrightsman, Don Ewell (piano); Barney Kessel (guitar); Morty Corb, Ed Garland (bass); Shelly Manne, Minor Hall (drums).

Claire Austin Sings When Your Lover Has Gone

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Lissy Walker - Wonderland

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 64:40
Size: 148,5 MB
Art: Front

(5:24)  1. Dream A Little Dream Of Me / I'll See You In My Dreams
(3:01)  2. You're A Heavenly Thing
(3:45)  3. Tonight You Belong To Me
(4:37)  4. Isn't It Romantic?
(6:44)  5. Lazy Afternoon / Where Of When
(4:31)  6. Little Person
(3:57)  7. Faithless Love
(3:38)  8. There Ain't No Sweet Man  (That's Worth The Salt Of My Tears)
(3:48)  9. I Wish I Was A Fool For You
(3:48) 10. I'm Forever Blowing Bubbles
(4:08) 11. Remember
(4:43) 12. Lover Man
(4:04) 13. Something Wonderful
(5:10) 14. I'll Be Home
(3:16) 15. Lullaby In Ragtime

Alice had many adventures in Wonderland: they could be fun, they could be touching, but they were seldom musical. Lissy Walker's second album, Wonderland, also provides lots of adventures some fun, some touching, all musical. A quick glance at the song titles "Something Wonderful," "Where Or When," "Isn't It Romantic?" put this album fairly and squarely into American Songbook territory. A quick glance at the instrumentation lap steel guitar, 12-string guitar, mandolin suggests that the territory is a bit further out west. But there's a trumpet, strings, a Hammond B3. And there are songs from Randy Newman ("I'll Be Home"), Harry Nilsson ("Remember") and Richard Thompson ("For Shame Of Doing Wrong," adopting Sandy Denny's preferred title of "I Wish I Was A Fool For You"). Confusing, isn't it? Stop glancing at lists, start listening to the music. Suddenly, it isn't confusing at all. Walker expertly draws these disparate sources, instruments and influences together. It's a reminder, if one were required, that musical boundaries are as permeable as a soggy paper bag. Walker's vocal tone owes much to country music, her phrasing stems from a love of jazz. She may lack out and out power, but she can emphasise meaning or emotion with a subtle shift of her voice. 

She can swing, too as she proves on "There Ain't No Sweet Man" and "I'll See You In My Dreams." The mix of jazz, folk and country songs needs, and gets, a band that understands each genre. Walker gives John David Souther's "Faithless Love" a straightforward but heartfelt performance, the song retaining its country roots thanks especially to John R Burr's Floyd Cramer piano flourishes. On "I Wish I Was A Fool For You" Walker's subtle shifts in emphasis capture the ambiguity of the lyrics, Burr's piano and Jason Lewis' understated drumming forming an ideal accompaniment. Trumpeter Steven Bernstein and clarinetist Ben Goldberg's playing is stylish and cool their partnership adding to the swing and optimism of "I'll See You In My Dreams." The combination of "Lazy Afternoon" and "Where Or When" is particularly inspired. Jon Evans' lap steel and Dave MacNab 's 12-string are low in the mix but prominent enough to give the songs an ethereal beauty. Walker's fragile vocal flows seamlessly between the songs, weaving the lyrics together so that they tell a single story. Written around 1919, "I'm Forever Blowing Bubbles" has been swung by Dean Martin, adopted as the theme tune of East London's West Ham United football team, given a punk rock makeover by West Ham fans the Cockney Rejects. Walker takes it back to its waltz time roots and reminds us that in the right hands (and voice) it's a lovely, sad, song. In fact, it's never been lovelier. ~ Bruce Lindsay  http://www.allaboutjazz.com/wonderland-lissy-walker-dogwood-records-review-by-bruce-lindsay.php#.VDHrPRawTP8
 

Personnel: Lissy Walker: vocals, backing vocals; John R Burr: piano, Hammond B3 organ; Jon Evans: bass, lap steel guitar, electric guitar; Scott Nygaard: guitar, mandolin; Jason Lewis: drums; Steven Bernstein: trumpet (1, 2, 6, 8, 11), slide trumpet (15); Ben Goldberg: clarinet (1, 15); Dave MacNab: 12-string guitar (5, 7); Philip Worman: cello (10, 12); Carla Kihlstedt: violin (4, 14); Liz Schultze: cello (4, 14).

Wonderland

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Sloche - Stadacone

Styles: Progressive Rock, Fusion
Year: 1976
File: MP3@320K/s
Time: 40:55
Size: 109,9 MB
Art: Front

(10:11)  1. Stadacone
( 5:36)  2. Le Cosmophile
( 4:24)  3. Il Faut Sauver Barbara
( 4:28)  4. Ad Hoc
( 4:55)  5. La "Baloune"
(11:17)  6. Isacaaron

After the spacy prog-fusion of their superb debut J'un Oeil the previous year, Quebec's Sloche eased up a notch on the controls on their follow-up. The Chicoutimi natives, now a sextet with drummer Gilles Chiasson replaced by Andre Roberge and percussionist Gilles Ouellet, decided to fold a dollop or two of funk into their trademark guitar/synth mix. What we get on 1976's Stadacone is a sound that veers into territory occupied by the likes of Weather Report, Mahavishnu Orchestra, or even the loping bass workouts of Stanley Clark rather than the usual suspects of Canterbury bands like Hatfield and the North or mid-period Soft Machine. 

For instance, the excellent title track is ten-plus minutes of lithe Fender Rhodes, deft guitar solos, and swirling synths that might have sounded as good in a tiny jazz club as in a massive concert hall. Ditto for more concise statements like the groovier 'Ad Hoc', where Caroll Berard shows off some nifty guitar work, or the proggier 'Il faut sauver Barbara', which is propped up by keyboardist Martin Murray's driving organs. Like its predecessor, Stadacone pleased the critics but barely troubled the charts, even inside Quebec where the group was most popular. And with the tight-fitting jeans and skinny ties of punk just around the corner, it should come as no surprise that the likes of Sloche were never really heard from again. Both discs have been recently remastered onto CD by the ProgQuebec label, but with such striking cover art, do you really need to be told to look for this one on vinyl? 

~ Michael Panontin  http://www.canuckistanmusic.com/index.php?maid=294

Personnel:  Réjean Yacola / keyboards; Martin Murray / keyboards; Caroll Bédard / guitars; Pierre Hébert / bass; André Roberge / drums & percussions; Gilles Ouellet / celesta, percussions

Stadacone

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Shawnn Monteiro - To Carmen With Love

Size: 137,7 MB
Time: 59:08
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Finian's Rainbow Old Devil Moon (4:45)
02. Roberta Yesterdays (6:19)
03. Broadway Melody Of 1940 I Concentrate On You (5:21)
04. Star Spangled Rhythm/That Old Black Magic (4:19)
05. You're Looking At Me (5:53)
06. Mean To Me (3:51)
07. Come In From The Rain (3:39)
08. Miss Brown To You (3:36)
09. One Touch Of Venus Speak Low (4:38)
10. A Damsel In Distress/Nice Work If You Can Get It (3:40)
11. I Have The Feeling I've Been Here Before (6:40)
12. Nature Boy (6:23)

Tributes to legendary jazz greats of the past dot the landscape of today's music, but few can actually boast a direct connection to the artist of homage. Singer Shawnn Monteiro—long influenced by the beautiful voice of pianist and vocalist Carmen McRae—is an exception. Her father and godfather, bassist Jimmy Woode and trumpeter Clark Terry, respectively, both performed with McRae, and Monteiro grew up listening to stories of their experiences. With To Carmen with Love, Monteiro pays tribute to a great jazz artist who not only left an indelible mark on the jazz world, but also played an inspirational role in Monteiro's own musical development.

Monteiro and co-producer/pianist Mike Renzi combed through more than thirty McRae albums and found a group of songs that the singer recorded more than once, indicating some special significance. For her homage, Monteiro performs these very same songs, primarily from The Great American Songbook, her hushed and earthy vocals creating a unique interpretation of McRae's preferred standards. With a core trio of Renzi, bassist Dave Zinno and drummer Steve Langone, Monteiro begins the tribute with "Old Devil Moon," scatting and swinging over devilish instrumental accompaniment.

The classic "Yesterdays" and Cole Porter's "I Concentrate on You" seem to find an especially sweet place with the singer, who delivers two emotional statements. McRae performed "Old Black Magic," "Nice Work If You Can Get It" and "I Have the Feeling I've Been Here Before" often, and here, Monteiro treats these standards more than well. Bobby Troup's "Your Looking At Me" and Melissa Manchester's "Come In From The Rain" are but two of the many soft tunes the singer takes to heart here.

Monteiro continues swinging through the standard repertoire—loose and playful on "Mean To Me," bluesy on "Miss Brown (To You), and sultry on the Kurt Weil/Ogden Nash staple "Speak Low." The vocalist closes the set on the Eden Ahbez's Latin-tinged "Nature Boy," introduced by Zinno and completing a tribute to one of the greatest ladies of jazz. Regardless of theme or special circumstance, To Carmen with Love is one of the better jazz vocal recordings around, and captures a superb performance from the classy Monteiro. Renzi and the trio also deserve mention for their marvelous support, providing the sparkle that helps Monteiro to shine. ~Edward Blanco

Personnel: Shawnn Monteiro: vocals; Mike Renzi: piano; Dave Zinno: bass; Steve Langone: drums.

To Carmen With Love

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Paolo Alderighi & Stephanie Trick - Sentimental Journey

Size: 141,3 MB
Time: 60:43
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Sentimental Journey (4:55)
02. Grandpa's Spells (3:31)
03. Just A Closer Walk With Thee (4:55)
04. I Wish I Were Twins (3:37)
05. East St. Louis Toddle-O (4:45)
06. Love Will Find A Way (6:14)
07. Stoptime Rag (3:25)
08. L.O.V.E (3:07)
09. Ostrich Walk (3:29)
10. Handful Of Keys (2:44)
11. Memories Of You/ I'm In The Mood For Love /Isn't It Romantic (6:00)
12. Swing That Music (4:23)
13. When You And I Were Young, Maggie (4:42)
14. Travelin' Boogie (4:50)

Paolo and Stephanie, two young jazz pianists, present their second album of original and fresh arrangements of songs from the Swing Era, along with some ragtime and blues, played in four hands.

Sentimental Journey                

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Joe Cohn - Emeryville Sessions Vol. 1: Marathon Man

Size: 174,6 MB
Time: 74:35
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ, Guitar
Art: Front

01. Speedball (Feat. Dayna Stephens, Joe Bagg & Akira Tana) (4:38)
02. Autumn Nocturne (Feat. Joe Bagg & Akira Tana) (6:54)
03. I Concentrate On You (Feat. Akira Tana & Joe Bagg) (7:30)
04. God Bless The Child (Feat. Joe Bagg & Akira Tana) (5:45)
05. Cohn On The Cob (Feat. Joe Bagg, Akira Tana & Dayna Stephens) (5:30)
06. Mama Flosie (Feat. Joe Bagg & Akira Tana) (4:44)
07. Trick Bag (Feat. Joe Bagg & Akira Tana) (5:06)
08. Bittersweet (Feat. Joe Bagg & Akira Tana) (5:05)
09. The Very Thought Of You (Feat. Dayna Stephens, Joe Bagg & Akira Tana) (6:24)
10. Estate (Feat. Akira Tana & Joe Bagg) (6:17)
11. U.M.M.G. (Upper Manhattan Medical Group) (Feat. Joe Bagg & Akira Tana) (4:04)
12. If Ever I Would Leave You (Feat. Joe Bagg & Akira Tana) (6:29)
13. Turn Around (Feat. Joe Bagg & Akira Tana) (6:03)

Joe Cohn was fated to a life in music by his antecedents and early exposure to the greatest musicians and composers, Joe, son of legendary saxophonist Al Cohn and vocalist Marylin Moore, has steadily risen to the fore and made his mark as one of the most inventive and catalytic guitarists in jazz. Joe emerged from his years at the Berklee School of Music in the late 70s as a multi-instrumentalist, and is no less impressive on trumpet. His work on guitar is consistently applauded and favorably reviewed. His professional experience as a guitarist is of the first order. He has toured and played with groups led by his father, Al Cohn (1979-87, including Europe), Freddy Cole (touring Brazil), Bob Mover, Nick Brignola, Artie Shaw, Zoot Sims, Buddy DeFranco (ongoing), Al Grey (ongoing), Warren Chiasson (ongoing), Carmine Leggio (ongoing), Claude “Fiddler” Williams (ongoing) and, of course, Harry Allen. On the New York City jazz club and concert scene, he has played the famous Blue Note with Al Cohn, Artie Shaw and Al Grey, Fat Tuesday’s and Sweet Basil with Al Grey, the Dorothy Chandler Pavilion with Artie Shaw and Lincoln Center with Hank Jones and Wynton Marsalis. On the international scene, he has played the Oslo Jazz Festival with Frank Wess, has played the annual jazz cruise on board the SS Norway with Al Grey, and wowed them at the Lionel Hampton Club in Paris with Duffy Jackson...

Emeryville Sessions Vol. 1

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Laura Dreyer - Vida. Arte. Amor

Size: 181,4 MB
Time: 77:58
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Caminhos Novos (4:54)
02. Beauty & The Beast (6:19)
03. Ping Pong (5:52)
04. Vale La Pena El Placer (Portuguese Version) (4:46)
05. Beijo Do Sol (Rio Version) (5:45)
06. Spring St (5:25)
07. Vale La Pena El Placer (4:00)
08. O Outro Lado Do Seu Amor (4:30)
09. Perdendo Voce (5:25)
10. A Sombra Se Foi (5:21)
11. Until Daybreak (6:25)
12. Arcade (7:21)
13. A Dança Dos Cachorros (6:13)
14. Perdiendote (5:34)

Every once and awhile an artist comes around to surprise everyone with the proficiency in an idiom naturally foreign to him or her. The saxophonist and flutist Laura Dreyer is one such artist. The Portuguese idiom of Brasil comes so naturally to her that she could almost fool even the most astute listener into believing that she is Brasilian. Such is her amazing proficiency in Brasilian rhythms—for that is what foxes most players. It is relatively easy to pick up on a melody, but when it comes to rhythm—and there are numerous complex beats and pulses that are employed in Brasilian music—it is often possible for musicians to misstep in the rhythm of the melodic line. The Brasilian Leo Gandelman and of course the late and legendary American Stan Getz make/made it sound so easy that many musicians believe it to be possible to play Brasilian music at the push of a button.

But Laura Dreyer has a special gift. It comes through in her wonderful composition “Ping Pong,” a smartly conceived “marcha” incorporating the “maracatu” rhythm gives notice that Ms. Dreyer has the soul of a Brasilian. This is strong claim to make, but then the wonderful manner in which the composition unfolds from chorus through soli and then choruses again is evidence enough. Still there is much more to show on this recording that is well worth the listening and to testify of Ms. Dreyer’s authenticity as a musician of considerable talent for the Brasilian rhythmic metaphor and for music in general. As a saxophonist Ms. Dreyer’s sonorities are clear and penetrating but never strident, and lend themselves both to the music and to the Brasilian technique. Again, her accompaniment of the wonderful Débora Watts on her vocals, especially on A Dança Dos Cachorros is truly exquisite. Both vocalist and flutist are so completely in synch that they seem to impart a gentle lilt to the rhythm that gives a sense of air between the notes.

Again, it is not often that an alto saxophonist also switches to soprano saxophone; more tenor saxophonists find the switch easier on embouchure. The reason is that it requires a remarkably acute technique that it is rare to find such a combination as with Laura Dreyer. However, not only does she have great facility with both instruments but her miniscule fingering technique creates sustained, vocally-oriented lines. Thus she conveys the music’s improvisatory nature and plunges into the main tempos with a sweep and gusto that is refreshing and often awe-inspiring. While the recording revolves around the saxophonist and flutist, other musicians make wonderful contributions as well. For instance trombonist Aldivas Ayers’ superb technique and expression stands him in good stead every time he is called upon to share the limelight. Such is the beauty of this music that when the disc is done it leaves the listener wanting so much more from this talented musician and her ensemble. ~by Raul da Gama

Personnel: Laura Dreyer: alto and soprano saxophones, flute and alto flute; Itamar Assiere: piano; Davy Mooney: guitar (6, 10, 12); Bernardo Rosario: guitar (2, 4 {Spanish and Portuguese versions only}); Jefferson Lescowich: bass; Marcio Amaro: drums; Mila Schiavo: percussion; Aldivas Ayers: trombone; Débora Watts: vocals (4, 9, 12); Karen Rodriguez: vocals on (6, 13); Teri Koide: vocals (11)

Vida. Arte. Amor

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Laura Freeman - Something Cool

Size: 106,6 MB
Time: 45:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Broadway, Cabaret
Art: Front

01. I Can't Be New (3:46)
02. Bus To St. Cloud (3:52)
03. It's A Lovely Day Today The Sun In The Morning Orange Colored Sky (3:29)
04. Tea For Two (4:12)
05. Better Luck Next Time (2:54)
06. Jolene (3:22)
07. I'm On My Way Mariah (3:29)
08. The Very Thought Of You (4:11)
09. Something Cool (4:05)
10. One Fine Day (3:51)
11. Meadowlark (5:10)
12. Hand In Hand (3:06)

She has a killer voice, a sparkling personality, and can really interpret a lyric. When Laura sings, you feel every emotion she conveys, and that is art. - David Fink - Co-owner - Acorn Theater in Three Oaks, MI

"Of course, Laura Freeman has a lovely voice. But so do many cabaret singers. What sets Laura apart from the rest of the cabaret pack is a remarkable ability to communicate character through singing. Freeman becomes the character reflected in the song. It shines in her face, in her voice, and above all, in her heart. Whether the character is an overworked secretary or a bird in flight, Freeman lets us in and we savor the truthful, personal connection that is so essential in cabaret." - Carla Gordon, Midwest Reporter - Cabaret Scenes Magazine

(Meadowlark) it’s a seven minute song with a foregone conclusion. But she made me forget what that conclusion was until right when she sang it.” - Stephen Schwartz

Something Cool

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Bob Brookmeyer - Blues Bossa Nova

Bitrate: 320K/s
Time: 28:03
Size: 64.2 MB
Styles: Bossa Nova, Trombone jazz
Year: 1962/2014
Art: Front

[4:07] 1. Blues Bossa Nova
[3:13] 2. A Felicidade
[4:12] 3. Chora Tua Tristeza
[2:15] 4. Colonel Bogey Bossa Nova
[4:06] 5. Samba De Orfeu
[3:30] 6. Qual E O Po
[4:33] 7. Manha De Carnaval
[2:03] 8. Theme (From Mutiny On The Bounty )

Bob Brookmeyer was in the studio just a few months after Stan Getz and Charlie Byrd helped to launch the bossa nova craze in the United States with their hit LP Jazz Samba, but this extremely enjoyable LP didn't come close to matching the success of the earlier album; it may be because the valve trombone is not envisioned as a lush melodic instrument by the average jazz listener in comparison to the tenor sax.

Brookmeyer's mellow solos are complemented by the presence of guitarists Jim Hall (who plays all of the solos) and Jimmy Raney, along with vibraphonist Gary McFarland and a trio of Latin percussionists, including Willie Bobo.

Luiz Bonfá's "Samba de Orfeu" and "Manha de Carnaval" as well as Antonio Carlos Jobim's "A Felicidade" (all three of which have become standards within the genre) are given imaginative arrangements, but there are a few twists thrown in by the leader. Brookmeyer's catchy "Blues Bossa Nova" works very well, as do his loping bossa nova treatment of Bronislaw Kaper's theme from Mutiny on the Bounty and a hilarious brisk chart called "Colonel Bogey Bossa Nova," a reworking of the well-known song made famous by the film The Bridge on the River Kwai.

Blues Bossa Nova

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Scott Lafaro - '58 Jazz Sessions: Live And Rare

Bitrate: 320K/s

Time: 43:21

Size: 99.2 MB

Styles: Bebop

Year: 2011

Art: Front

[2:45] 1. Cherry

[3:05] 2. There's No Greater Love

[3:09] 3. Chart Of My Heart

[9:34] 4. Rehearsal Blues

[2:42] 5. Bebop

[3:37] 6. Crow's Nest

[3:18] 7. Liz-Anne

[3:36] 8. Until The Real Thing Comes Along

[1:44] 9. You Are My Lucky Star

[3:30] 10. Deep In A Dream

[3:08] 11. Tumbaro

[3:07] 12. Flamingo

During his tragically short life, Scott LaFaro quickly developed into one of the most advanced bassists around, competing with Charlie Haden and Charles Mingus. He emphasized high notes, could play with great speed, and his interplay with Bill Evans in their trio was mutually stimulating and influential. LaFaro originally played clarinet and tenor before settling on bass while in college. He was with Buddy Morrow's band (1955-1956), toured with Chet Baker (1956-1957), and worked during the next few years with Ira Sullivan, Barney Kessel, Cal Tjader, and Benny Goodman, among others.

LaFaro joined the Bill Evans Trio in 1959 and, although he would record with Ornette Coleman (including Free Jazz) and gig with Stan Getz, the bassist is best-remembered for his association with Evans, particularly their Village Vanguard recordings of 1961. The 25-year-old Scott LaFaro's death in a car accident shortly after was a major shock to the jazz world.

'58 Jazz Sessions: Live And Rare

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Ray Barretto - Hello My Name Is...

Bitrate: 320K/s
Time: 75:25
Size: 172.7 MB
Styles: Latin jazz
Year: 2013
Art: Front

[4:23] 1. Manhã De Carnaval
[2:54] 2. Summertime
[7:58] 3. Quítate La Máscara
[6:00] 4. Cocinando Suave
[7:15] 5. Amor Artificial
[2:30] 6. Mira Qué Linda
[5:19] 7. Exodus
[7:14] 8. Nadie Se Salva De La Rumba
[3:22] 9. Sugar's Delight
[5:18] 10. Guanco Lament
[5:24] 11. Testigo Fui
[4:26] 12. Descarga La Moderna
[7:23] 13. Fuerza Gigante (Giant Force)
[5:54] 14. El Negro Y Ray

Ray Barretto (April 29, 1929 – February 17, 2006) was a Grammy Award-winning Latin/Latin jazz musician of Puerto Rican ancestry.

Born of Puerto Rican descendence in Brooklyn during the depression, he lived with his mother in East Harlem, The South Bronx and other “boricua” districts before he joined the army, where in the latter 1940’s he heard Dizzy Gillespie’s hard bebop. The young man was transfixed by Dizzy Gillespie - Manteca,” which featured conguero Chano Pozo.

He started sitting in at a Munich jazz club, and after his discharge, by the early 50’s he had bought his own Cuban Cnga drum and was playing regularly at clubs like The Bucket of Blood. Soon Mambo was the rage, and Barretto eventually started playing with Tito Puente in 1957, replacing the famed Mongo Santamaria. He became a band leader on his own by 1961, and had a big hit with his group Charanga Moderna and their boogaloo dance craze single called “el Watusi” in 1963 that was the first Latin record to hit the Billboard top 20, and went Gold.

Hello My Name Is...

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Freddie Hubbard - Skagly

Styles: Trumpet Jazz
Year: 1979
File: MP3@320K/s
Time: 41:22
Size: 94,8 MB
Art: Front

( 7:52)  1. Happiness Is Now
( 5:36) 2. Theme from 'Summer of '42' (The Summer Knows)
( 7:44)  3. Cascais
(14:34) 4. Skagly
( 5:35)  5. Rustic Celebration

In general Freddie Hubbard's Columbia recordings can be skipped by serious jazz fans because, with the exception of Super Blue and to a lesser extent this album, they are overtly commercial and rather insincere efforts. This particular record at least uses the trumpeter's regular quintet of the period (with Hadley Caliman on tenor and flute, the up-and-coming keyboardist Billy Childs, bassist Larry Klein and drummer Carl Burnett) although the title cut has three guests (including keyboardist George Duke) whose role seemed to be to make the music more funky. With the exception of the standard "Theme from Summer of '42," none of the other songs (all group originals) caught on but Hubbard takes some good solos during these modern mainstream performances. ~ Scott Yanow  http://www.allmusic.com/album/skagly-mw0000819807

Personnel: Freddie Hubbard (trumpet, flugelhorn); Hadley Caliman (flute, tenor saxophone); Phil Ranelin (trombone); Billy Childs (keyboards); Larry Klein (acoustic bass, electric bass); Carl Burnett (drums).

Skagly

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Julie Anne - With A Twist

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 44:30
Size: 103,0 MB
Art: Front

(3:27)  1. Honeysuckle Rose
(4:23)  2. Popsicle Toes
(3:20)  3. Bye Bye Blackbird
(3:09)  4. Summertime
(6:31)  5. I'm Just A Lucky So & So
(4:25)  6. Teach Me Tonight
(4:18)  7. What You Won't Do For Love
(2:52)  8. What Are You Doing the Rest Of Your Life
(2:39)  9. Twisted
(3:38) 10. Windmills Of Your Mind
(5:44) 11. When Sunny Gets Blue

Julie Anne is one of a kind!  You will be entranced by Julie Anne's own personal style that sets her aside from all others. Influenced by the most distinguished jazz vocalists such as Ella Fitzgerald, Sarah Vaughn, Julie London and Peggy Lee, Julie Anne pays tribute to them by keeping these classic jazz standards alive. The quality of her voice, her unique phrasing and interpretations make Julie Anne one of the top jazz performers around. Julie Anne has a degree in Music Education from the University of Arizona. She taught choir, general music and theatre locally for eight years. However, her biggest love is singing. Julie Anne has been singing in Tucson for over 20 years. You may have seen Julie Anne at many Tucson Jazz Society events such as the Diva’s of Jazz or Tribute to Women in Jazz concerts, “Tucson Swings!” dances and concerts, "Triple Threat!" concerts in which she sings and dances with two other talented ladies Crystal Stark and Katherine Byrnes, Cushing Street, Dove Mountain, the piano bar at McMahon’s Steak House, Ventana Canyon, Kingfisher, Blue Fin, Westward Look, The Gas Light Theatre, Starr Pass resort, Green Valley, Saddlebrooke, Sun City/Phoenix, Old Pueblo Grill or any number of other concerts, events, conventions or weddings. 

Julie Anne performs with just a piano or guitar, a trio, quartet or a full Big Band. Her preference is an 8 piece band with horns. That really swings!!! "Hey, Daddy!" is now available for purchase or download. It was formally released October 16, 2007. "Hey, Daddy!" was chosen to be one of the top 25 indie music releases of 2007 by Indie-Music.com!!!! "Hey, Daddy!" was recorded at Jim Brady Recording Studios (The top studio in town!) with Jeff Haskell on piano, Ed Delucia on guitar, Scott Black on bass, Fred Hayes on drums, Greg Armstrong on sax and clarinet, Rob Boone on trombone, Martin Patfield on trumpet and flugal horn, Christine Vivona on harp and members of the Tucson Symphony Orchestra on strings. I'm very proud of it! Julie Anne’s newest CD “With a Twist” will be released this fall.  Recorded at a local studio with Tucson’s top musicians you will hear classic jazz standards and a few surprises.~ Bio http://www.julieannesjazz.com/?section=bio

With A Twist

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Jackie McLean - Nature Boy

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 56:47
Size: 130,4 MB
Art: Front

(7:47)  1. You Don't Know What Love Is
(9:30)  2. Nature Boy
(7:57)  3. I Can't Get Started
(6:31)  4. What Is This Thing Called Love
(5:09)  5. I Fall In Love Too Easily
(5:51)  6. Smoke Gets In Your Eyes
(5:31)  7. Star Eyes
(8:28)  8. A Nightingale Sang In Berkeley Square

At 67, Jackie McLean sounds better than ever. Highly recommended, his latest album surrounds that distinctive alto saxophone tone with a seasoned trio, presenting classic songs – the kinds of songs that got us interested in jazz in the first place. "Nature Boy" swings lightly with a loose bebop flavor after McLean first offers the melody straight and with serene melodic shades. The dramatic changes in mood and tempo take the listener on a trip from dreamy ballad land to a place where bop is king and improvisation reigns. Bassist and pianist stretch out throughout the session with spontaneous interludes to complement McLean’s fluid bop-charged lines. The unpredictable manner in which his alto saxophone portrays each chorus differently brings pleasant surprises along the way. There’s none of that harsh, biting, jangling of the nerves that up-tempo bebop and hard bop can sometimes bring. Instead, McLean starts with a roster of pretty songs, surrounds himself with artists who match his mastery, and then portrays the music with a lively bounce that flows seamlessly from start to finish. ~ Jim Santella  http://www.allaboutjazz.com/nature-boy-jackie-mclean-blue-note-records-review-by-jim-santella.php#.VC8weBawTP8
 

Personnel: Jackie McLean- alto saxophone; Cedar Walton- piano; David Williams- bass; Billy Higgins- drums.

Nature Boy

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Sloche - J'un Oeil

Styles: Progressive Rock, Fusion
Year: 1975
File: MP3@320K/s
Time: 38:26
Size: 88,3 MB
Art: Front

( 8:57)  1. C'Pas Fin Du Monde
(10:56)  2. Le Kareme D'Eros
( 4:47)  3. J'un Oeil
( 6:34)  4. Algebrique
( 7:11)  5. Potage Aux Herbes Douteuses

The upper reaches of the Saguenay River in Quebec Chicoutimi and Jonquiere to our international readers may be about as far away geographically and culturally from the traditional Anglo centres of rock as one can get. And yet in the seventies prog rock flowered in the most unlikely places Italy and Quebec are two obvious examples with bands like Octobre, Et Cetera, Morse Code Transmission, Maneige, and Sloche holding court up here in la belle province. Saguenay prog icons Sloche had been kicking around since 1971, but their line-up solidified when pianist Rejean Yacola, fresh out of the prestigious Conservatoire de Musique du Quebec, hooked up with fellow alumni Martin Murray (organ and synths), Caroll Berard (guitar), Pierre Hebert (bass) and Gilles Chiasson (drums). The band's long-playing debut, the musically complex J'un Oeil, seemingly dropped out of the sky in 1975. J'un Oeil is prog at its most glorious. 

The opening salvo 'C'pas la fin du Monde' has it all: spacy synths that segue into funky Rhodes piano that morphs into a trippy interlude before careening back into its groovy finale. In fact, much of this mostly-instrumental disc treads the sort of space-jazz terrain of Hatfield and the North, Gentle Giant (who were huge in Quebec), and especially Stomu Yamashta's Go project. Even the occasional vocal harmonies, like those on the title track, are shimmering delights. Alas, with prog's days just about numbered by the time J'un Oeil reached the shops, it should surprise no one that the record went virtually unnoticed outside its home province. Still, Sloche would go on to add one more disc to their legacy, the somewhat underachieving Stadacone the following year, before seemingly falling off the musical map. ~ Michael Panontin
http://www.canuckistanmusic.com/index.php?maid=155

Personnel: Réjean Yacola - Piano, Vocals; Martin Murray - Organ, Synthesizer, Saxophone, Vocals; Caroll Bérard - Guitar, Vocals; Pierre Hébert - Bass, Vocals; Gilles Chiasson - drums

J'un Oeil

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Joe Henderson - Double Rainbow: The Music of Antonio Carlos Jobim

Bitrate: 320K/s

Time: 62:07

Size: 142.2 MB

Styles: Post bop, Bossa Nova, Saxophone jazz

Year: 1995

Art: Front

[4:43] 1. Felicidade

[5:22] 2. Dreamer

[6:33] 3. Boto

[4:28] 4. Ligia

[5:20] 5. Once I Loved (Amor Em Paz)

[5:26] 6. Triste

[5:00] 7. Photograph

[5:16] 8. Portrait In Black And White

[6:38] 9. No More Blues

[3:10] 10. Happy Madness

[5:37] 11. Passarim

[4:30] 12. Modinha

The third of tenor-saxophonist Joe Henderson's tribute CDs on Verve was originally supposed to be a collaboration with the great bossa nova composer Antonio Carlos Jobim but Jobim's unexpected death turned this project into a memorial. Henderson performs a dozen of the composer's works with one of two separate groups: a Brazilian quartet starring pianist Eliane Elias and a jazz trio with pianist Herbie Hancock, bassist Christian McBride and drummer Jack DeJohnette. In general, Henderson avoids Jobim's best-known songs in favor of some of his more obscure (but equally rewarding) melodies and in some cases (such as a very straight-ahead "No More Blues") the treatments are surprising. Highlights of this very accessible yet unpredictable CD include "Felicidade," "Triste," "Zingaro" and a duet with guitarist Oscar Castro-Neves on "Once I Loved," although all of the performances are quite enjoyable. Highly recommended. ~Scott Yanow

Double Rainbow

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Justin Morell Quintet - The Music Of Steely Dan

Bitrate: 320K/s
Time: 52:47
Size: 120.8 MB
Styles: Mainstream, Straight ahead
Year: 2013
Art: Front

[6:41] 1. Home At Last
[4:44] 2. My Rival
[7:40] 3. I Got The News
[6:11] 4. Third World Man
[7:39] 5. The Royal Scam
[6:45] 6. Maxine
[6:38] 7. End Of The Line
[6:25] 8. Babylon Sisters

Rock/pop band, “Steely Dan” signified the epitome of hip-ness thanks to a string of monumentally successful recordings. They blended cool, jazzy licks with memorably melodic themes and soul, blues, rock frameworks during their successful 1970’s run. In fact, the main proprietors of the band, keyboardist, Donald Fagen, and bassist, Walter Becker hired well-known jazz session musicians on several occasions. So, the jazz connection was in place, amid the unit’s witty or perhaps, Dylan-esque lyricism and often endearing arrangements. With that, twenty-eight year old, Los Angeles, guitarist/film scorer, Justin Morell, and his band of Southern California session aces reinterpret six Steely Dan classics (Becker/Fagen), along with a lone Fagen composition, and one original.

The quintet’s modus operandi rings loud and clear as Morell, John Daversa (trumpet) and Tom Peterson (saxophone) jubilantly state the memorable choruses in concert with the jazz-based rhythms. Whereby, the guitarist often anchors the proceedings via his deft comping and beautifully structured soloing. They adhere to the original compositions while injecting a personalized stamp into works such as the dreamy “Home At Last,” and others. In addition, the soloists articulate a mild frenzy atop the rhythm section’s leanly executed swing on, “I Got The News.”

The musicians touch upon a higher worldly plane during their modern jazz-based spin of “The Royal Scam.” On this piece, the soloists’ augment the song’s soulful motif with ferocious call and response type dialogue. Legendary L.A. session drummer, John Guerin lays down a brisk strut in support of Daversa’s warmly stated lines and Peterson’s soul-searching tenor sax solo on “Babylon Sisters.” Bassist, Todd Sickafoose often propels the band into mid-tempo swing vamps while Morell’s well-placed chord progressions provide a budding flow throughout.

Many of “Steely Dan’s” LPs continue to enjoy staying power, as Morell and co. parallels that notion in exuberant (jazz-based) fashion with this glowing testament to a great outfit. Highly recommended. ~Glenn Astarita

The Music Of Steely Dan

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Walt Weiskopf - Anytown

Bitrate: 320K/s

Time: 58:34

Size: 134.1 MB

Styles: Saxophone jazz, Mainstream

Year: 1999

Art: Front

[7:51] 1. Anytown

[7:02] 2. Scottish Folk Song

[8:00] 3. Blues In The Day

[6:56] 4. Adrienne

[7:47] 5. Love For Sale

[6:53] 6. King Midas

[7:09] 7. Grand Delusion

[6:52] 8. Breakdown

Although popularity and critics polls speak much to the contrary, saxophonist and composer Walt Weiskopf is one of the most artistic and exceptional jazz musicians around. That he's gone as long as he has without receiving much notice by the jazz press or public at large is undeniably inexplicable. This fact is made even more confounding when one considers that the cerebral and explorative style he has pursued has made other men, such as Joe Lovano and Chris Potter, household names. But it should come to no surprise that while the autonomy allowed him by working for the small Dutch independent Criss Cross is a plus, it certainly doesn't yield the big bucks promotion that comes with a major label deal. None of this seems to hamper Weiskopf's work however, because he remains a very active educator, writer, jazz clinician, and working musician despite his relatively low profile.

Weiskopf's latest set, Anytown, is his fifth for Criss Cross overall and offers somewhat of a departure in that the crew he has chosen to work with brings a different character to the proceedings than what we've heard on previous efforts for the label. For starters, two mainstays from his past albums are missing. Pianist brother Joel has been spelled here by the superbly imaginative Renne Rosnes and regular drummer Billy Drummond has been replaced by the equally ambidextrous Tony Reedus. Rounding out this ensemble are bassist Doug Weiss and vibraphonist Joe Locke and what a wonderful collective spirit they generate on a program of seven Weiskopf originals and one revamped standard.

As with all his recordings, Weiskopf likes to leap from the gates with his opening gambit and the title track here is no exception. A beguiling line full of the twists and turns that mark his best work, the melody is executed brilliantly by Weiskopf and Locke and their blend throughout is highly agreeable. As a superior follow-up to his re-working of a Japanese folk melody on the previous Sleepless Nights, "Scottish Folk Song" moves along in a nice lilting three. And if the previous mention of Weiskopf being a "cerebral" type of player leads you to believe he's all technique and no heart, then go straight to the ballad "Adrienne," where his breathy tone and quiet lyricism is touching in its beauty. Rounding things out, we also get the up tempo burn-out that comes with "Blues in the Day" and "Breakdown."

As strong as his writing is, Weiskopf is also a master saxophonist with a fluid approach that includes the kinds of rapid arpeggios and guttural wails that mark the work of Wayne Shorter and John Coltrane's "sheets of sound" approach. Locke has proven to be the up-and-coming vibraphonist on the scene with a technical virtuosity and musical wisdom beyond his years, while Rosnes continues to impress this reviewer with a talent that's deserving of much wider recognition. Weiss and Reedus also do their part to keep things rolling and the latter spurs Weiskopf on in ways that only Drummond had previously been able to do. Taken as a whole, Anytown is another successful effort from Weiskopf and it possesses the kind of integrity and enduring brilliance that will mark it as a classic for now and years to come. ~C. Andrew Hovan

Walt Weiskopf- tenor saxophone, Joe Locke- vibraphone, Renee Rosnes- piano, Doug Weiss- bass, Tony Reedus- drums

Anytown

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