Donald Brown - French Kiss

Bitrate: 320K/s

Time: 61:32

Size: 140.9 MB

Styles: Hard bop, Piano jazz

Year: 2010

Art: Front

[7:25] 1. Utopia

[6:47] 2. The Mcghaw's Place

[7:34] 3. Keep' Takin' Me Higher

[6:51] 4. Pomponio

[6:00] 5. All My Yesterday's

[6:19] 6. Mr Day Dream

[8:08] 7. French Kiss

[3:51] 8. A Poem For Martin

[3:56] 9. Smile

[4:37] 10. 49th Street

Donald Brown's series of recordings for the French label during the 1990s shows a continuous growth from his earlier dates for Muse. He puts his own stamp on McCoy Tyner's thunderous "Utopia" and compelling ballad "All My Yesterdays." Brown's dazzling introduction to Charlie Chaplin's "Smile" gives it an entirely new face, while he sizzles on Bill Mobley's "49th Street" in a sparkling duet with guitarist Jerome Barde. Brown's compositions were recorded by a number of other artists during the 1990s for a good reason: they stood out from the mass of new works that appeared during that time. The pianist's originals on this CD include the catchy but not overly sentimental "The McGhaw's Place"; "French Kiss," which features lively percussion by Billy Kilson and an infectious vamp that continues to inspire the musicians; and, finally, "A Poem for Martin," a somewhat dark Latin-flavored piece featuring percussionist Anga Diaz. This is yet another excellent CD by Donald Brown. ~Ken Dryden

French Kiss

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Beverly Kenney - Born To Be Blue

Bitrate: 320K/s
Time: 36:11
Size: 82.9 MB
Styles: EasyListening
Year: 1959/2013
Art: Front

[3:33] 1. Born To Be Blue
[2:21] 2. It's A Blue World
[3:06] 3. Somewhere Along The Way
[2:19] 4. Again
[3:11] 5. For All We Know
[2:45] 6. It Only Happens When I Dance With You
[2:35] 7. Go Away, My Love!
[2:34] 8. Isn't It A Pity
[2:56] 9. Beyond The Next Hill
[2:28] 10. Where Can I Go Without You
[3:00] 11. Vanity
[2:53] 12. I Walk A Little Faster
[2:24] 13. You Couldn't Be Cuter

Born to Be Blue captures Beverly Kenney at her most intimate and compelling. Created in collaboration with arrangers Hal Mooney and Charles Albertine, the music channels the emotional depth of the blues with startling clarity, employing Kenney's deep, commanding vocals to vividly poignant effect. Mooney and Albertine forgo excess and sentimentality in favor of stark simplicity, architecting taut modern jazz contexts that shift the spotlight squarely on Kenney's vocals. Her readings of familiar songs like "For All We Know" are forged from both resiliency and vulnerability, articulating an emotional depth matched by few singers of her era. ~Jason Ankeny

Born To Be Blue

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Jimmy Rushing - Vanguard Visionaries

Bitrate: 320K/s

Time: 51:38

Size: 118.2 MB

Styles: Jazz blues, Vocal jazz

Year: 2007

Art: Front

[5:42] 1. Dinah

[5:21] 2. Pennies From Heaven

[6:00] 3. Oh Love

[3:34] 4. Goin' To Chicago

[3:36] 5. Sent For You Yesterday

[3:38] 6. Boogie Woogie

[5:15] 7. Good Morning Blues

[7:28] 8. Evenin'

[5:09] 9. See See Rider

[5:51] 10. Don't Cry Baby

This ten-cut sampler of blues and jazz great Jimmy Rushing compiles cuts from his three mid-'50s LPs for Vanguard -- Listen to the Blues, Jimmy Rushing Sings The Blues, and Oh Love. Most of tunes have been compiled on larger anthologies such as the Essential Jimmy Rushing and Every Day. There are fine performances on this set, such as his readings of "See See Rider," Count Basie's "Boogie Woogie," "Evenin'," and "Goin' to Chicago." From the jazz side of his oeuvre is the Johnny Burke-Arthur Johnston standard "Pennies from Heaven," "Sent for You Yesterday," and "Dinah." While these are among his best sides as a solo performer, hearing his work with the Count Basie big band is the real place to encounter Rushing in his prime, but it's hard to beat this for the price. ~Thom Jurek

Vanguard Visionaries 

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Melvin Rhyne - Tomorrow Yesterday Today

Bitrate: 320K/s
Time: 60:54
Size: 139.4 MB
Styles: Hard Bop, Piano jazz
Year: 2004
Art: Front

[4:27] 1. Lover, Come Back To Me
[7:30] 2. Buffalo
[7:02] 3. Jingles I
[6:20] 4. Darn That Dream
[4:48] 5. Niambi
[6:03] 6. Five Flat Minor
[7:15] 7. Enchantment
[7:20] 8. Tangerine
[4:11] 9. Easy Living
[5:54] 10. Jingles II

The 68-year-old Melvin Rhyne, a key member of Wes Montgomery's original Riverside trio from 1959 to 1964, still sounds on top of his game as evidenced on Tomorrow, Yesterday, Today (Criss Cross). Joined by guitarist and frequent collaborator Peter Bernstein and ubiquitous session drummer Kenny Washington, Rhyne swings forcefully on snappy renditions of "Lover Come Back to Me" and "Tangerine" as well as on two separate versions of Wes Montgomery's "Jingles" (which Rhyne recorded with the guitarist in 1959). They are joined by tenor saxophonist Tad Shull on Kenny Dorham's rollicking shuffle "Buffalo" and on straightforward ballad readings of "Darn That Dream" and "Easy Living." ~Bill Milkowski

Tomorrow Yesterday Today

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Lionel Hampton Feat. Sylvia Bennett - There Will Never Be Another You

Styles: Vocal And Vibraphone Jazz
Year: 2006
File: MP3@320K/s
Time: 47:46
Size: 109,4 MB
Art: Front

(3:01)  1. Just One of Those Things
(2:44)  2. There Will Never Be Another You
(6:01)  3. Cookin' In The Kitchen (a.k.a. Jumpin' At The Mudhole)
(3:14)  4. Sweet Man of Mine
(3:12)  5. Beulah's Boogie
(2:29)  6. Bill Bailey
(3:35)  7. It Might As Well Be Spring
(4:00)  8. Together
(5:05)  9. Red Top
(3:17) 10. Please Love Me
(3:36) 11. Someday
(3:34) 12. You Make My Heart Sing
(3:53) 13. You Make My Heart Sing (Remix)

Legendary vibraphonist Lionel Hampton auditioned Italian-born vocalist Sylvia Bennett in the early '80s, hired her on the spot to sing with his band, and subsequently recorded two albums with her. The first, Sentimental Journey, received a Grammy Award nomination, but the second, recorded in 1989 when Hamp was a frisky eighty years old, sat neglected for reasons unknown ever since and is only now being heard for the first time. And it's high time, too. To state the case as clearly as possible, the album is a sheer delight. Hamp plays marvelously in front of a large ensemble comprised of south Florida's finest sidemen, and Bennett weighs in with charming vocals on seven tracks, including two contrasting versions of "You Make My Heart Sing (the second marred by electronic gimmickry and pointless commentary by Lionel). 

One can easily hear why Hampton thought so much of Bennett; her diction is crystal-clear, she sings squarely on-key, respects (and sells) a lyric, and even though she's essentially a pop singer, she knows how to swing when necessary. Oh, and she has a really nice voice. The album alternates between vocals and instrumentals, with Hamp taking almost all the solos on the latter, which include "Just One of Those Things, "Cookin' in the Kitchen, "Beulah's Boogie, "It Might as Well Be Spring, "Red Top and "Someday. Bennett is warm and enchanting, especially on "Another You, a Brazilian-flavored "Bill Bailey and "Together. Good as the album is, however, there's even more to savor a thirty-minute companion DVD that explains more fully how the albums came about and shows Hamp and Bennett in action, so to speak (even though a large part of the footage has obviously been re-created, Bennett is lip-synching the lyrics some in Hamp's kitchen! and several clips of Lionel leading his band were clearly borrowed from other sources and are unrelated to these sessions). 

There are, however, brief but engaging scenes (and stills) of Hamp's band in concert with Bennett as vocalist (including a date at President Ronald Reagan's inauguration in '86). And we learn, for example, that Hamp came to Miami after the tracks for this album had been recorded, adding his vibe (and piano) solos and backgrounds seamlessly to the mix. Works perfectly too; one couldn't tell from listening that he wasn't there when the band was in the studio. Due credit here to the great work by producer/writer/arranger Hal Batt, who's scarcely mentioned on the album but is prominent on the DVD. Hampton and Bennett were a perfect fit, their second album together is remarkable, and it's a shame they didn't record together more often. But at least we have this one better late than never and it's a consistently impressive eye-opener. ~ Jack Bowers  http://www.allaboutjazz.com/there-will-never-be-another-you-lionel-hampton-out-of-sight-music-review-by-jack-bowers.php#.VC81yRawTP8
 

Personnel: Lionel Hampton: leader, vibraphone, synthesizer; Mike Lewis: conductor; Sylvia Bennett: vocals; Jim Hacker, Brett Murphy, Tony Luschen, John Georgini: trumpet; Neil Bonsanti, Billy Ross, Chip McNeill, Jeff King, Whit Sidner: reeds; Phil Gray, Tom Garling, Dana Teboe, Greg Cox: trombone; Hal Batt: keyboards, guitar, bass; Bobby Pancoast: keyboards; Dave Hardman (1-10,13), Gotz Kujack (11,12): drums; Sammy Figueroa: percussion.

There Will Never Be Another You

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Richie Kaye's Music and Mirth - The Last Whoop Dee Doo!

Styles: Jazz, Swing
Year: 2014
File: MP3@320K/s
Time: 60:41
Size: 140,7 MB
Art: Front

(2:26)  1. The Days of Wine and Roses
(1:57)  2. Over the Rainbow
(2:58)  3. Put on a Happy Face
(1:41)  4. Beboperoni Here Comes Tony!
(2:34)  5. Black Orpheus
(2:59)  6. Sittin' on Top of the World
(1:53)  7. I've Got a Crush on You
(1:48)  8. Zip Zappity (To the Tune of My Blue Heaven)
(1:45)  9. Lady Be Good
(1:59) 10. Jeepers Creepers
(2:18) 11. I'm Through With Love
(2:01) 12. Honeysuckle Rose
(1:53) 13. Take Five
(2:41) 14. Clarinet Medley (Sweet Sue / Frenesi)
(1:54) 15. Way Down Yonder in New Orleans
(2:44) 16. My Old Flame (Live @ The Syracuse Jazz Festival)
(1:54) 17. Clarinet Ragatony
(3:10) 18. I Can't Get Started
(3:27) 19. La Mer
(4:05) 20. Green Dolphin Street
(3:10) 21. Out of Nowhere
(3:32) 22. (In a Shanty in Old) Shantytown
(1:43) 23. Wrap Your Troubles in Dreams
(2:12) 24. Harlem Nocturne
(1:43) 25. I Love Lucy

Down in the dumps? Need a pick-me-up? You've got a smile-maker in your hands! 25 tracks of classic American jazz for your entertainment and delight. No heavy lifting needed with this album. It's all melody, all the time. Lyrical and fulfilling, with the occasional comic air that will make you say, I'm glad I listened! Go ahead, put this album on your player! You'll hear two (and sometimes three) happy-go-lucky music-makers who play acoustic instruments without modern gimmicks. Guitar and saxophone aren't often recorded together so simply and plainly not since the swing era just these two make a really full sound. Almost like an entire (gulp) orchestra! "We know that people are aching to hear familiar, upbeat American song," says Richie Kaye. "We know because they tell us so, wherever we play, even in the subway," where the duo performs with the Music Under New York program. "The biggest tips are given whenever we play something upbeat and positive, something that reminds people that life is pretty darn great."  Whether that tune is "The Days of Wine and Roses," the opening number of this album, done in a spirited Latin style, or "Put on a Happy Face," from the 1957 musical, Bye Bye Birdie, with its jaunty, peppy hook and abundant good feeling listeners relax their tense shoulders and smile, oh, so broadly. Hey, I'm happy! 

And the musicality of this duo (and sometime trio) is spectacular, as you can hear in the virtuosic saxophone playing of Tony LaVorgna on "I Can't Get Started," amply complemented by Richie Kaye's nuanced rhythmic support on archtop guitar. Sam Kuslan adds a delightful touch of youthful and spirited piano excellence in "On Green Dolphin Street," moving it forward with a pulse which will make you want to get up and dance. Once in a while, the duo ventures into the bittersweet of life with moving renditions of "Black Orpheus," from the Brasilian movie of the same name, one of the few recordings on which clarinet plays the melody, and "Over the Rainbow," from the 1939 film everybody loves, "The Wizard of Oz." Tony's haunting tone echoes a humanity that is entirely captivating. The duo love to play what used to be called "novelty numbers" in variety performance a genre that has all but disappeared. Going down south for an old time revue number, "Way Down Yonder in New Orleans," you might imagine yourself in a club in the French Quarter. And how many jazz musicians have ever recorded "I Love Lucy?" Richie does a mighty fine Ricky! Listeners will love the variety: ballads, swing, stage numbers, novelty, Latin, comedy. This album has something for everyone. If you listen to it, you'll be smiling. And then you'll listen again and again!  http://www.cdbaby.com/cd/richiekaye3

RICHIE KAYE (guitar, voice) was seen on vaudeville stages in a past life. He finds inspiration in the comic stage performers of the first half of the 20th century as much as he does in the jazz guitar players of the latter half. Richie has performed in clubs, on theatrical stages, in audiobooks and on TV in the US and Asia, including Tokyo TV, East China TV, the Syracuse Jazz Festival, the International Festival of Arts & Ideas and other venues.

TONY LAVORGNA (saxophone, clarinet) was on the road by age 19 with the Jimmy Dorsey Orchestra and more recently the Tommy Dorsey Orchestra as featured soloist. His own CD, The Atlanta All-Star Quartet Plays Bill Evans won the National Association of Recording Arts and Sciences award for best jazz recording. Tony recently recorded with Benny Goodman band bass player, Bill Crow.

SAM KUSLAN (piano, tracks 12 & 20) lives in New Orleans, where he plays piano and sings. He was 17 at the time of this recording. Sam has performed at the New Orleans Jazz Festival, New York City’s Steinway Hall. the New Orleans Mint and clubs in the French Quarter.

The Last Whoop Dee Doo!

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Adam Rogers - Time And The Infinite

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 58:11
Size: 133,5 MB
Art: Front

( 5:32)  1. Night And Day
( 5:39)  2. Elegy
( 3:18)  3. Time and The Infinite
( 7:05)  4. Young And Foolish
( 6:40)  5. Cheryl
( 5:20)  6. Esteban
( 8:51)  7. Without A Song
( 5:19)  8. Ides Of March
(10:22)  9. I Loves You, Porgy

While Adam Rogers is no stranger to the standards songbook, the guitarist's three releases as a leader have focused almost entirely on his challenging yet accessible compositions. They've also utilized the same personnel. Art of the Invisible (Criss Cross, 2001) introduced a guitar/piano/bass/drums quartet that would, with the addition of saxophone, flesh out to a consistent quintet for Allegory (Criss Cross, 2002) and Apparitions (Criss Cross, 2005). Time and the Infinite pares things back to a trio, and while there are still four Rogers compositions, the majority of the disc is focused on workouts of standards from Cole Porter, Charlie Parker, George Gershwin and others. But anyone who knows Rogers knows that even the most well-worn tune is going to be approached with invention. While Rogers never loses site of the core of tunes like "Night and Day" and "I Loves You Porgy," his re-harmonization and addition of metric complexities keep them modern and relevant. Bassist Scott Colley is back, but for this date Rogers has recruited drummer Bill Stewart one of the most melodic and flexible drummers on the contemporary scene. 

It's a winning combination that allows for the fiery burn of "Night and Day," where Rogers adds an additional 3/4 bar to lend some tension, and a knotty ending vamp that provides Stewart with a challenging foundation for his solo. The requisite swing of Charlie Parker's "Cheryl" is placed slightly off-kilter by making it a thirteen-bar blues, while the bossa approach of the Vincent Youmans classic "Without a Song" is more straightforward, relying instead on Rogers' focused sense of solo construction to create an ongoing sense of tension and release. The greater responsibility of being the only chordal instrument is no problem for Rogers. His solos adhere to the changes either through the inherent implication of melodic development or through interjection of chordal movement while building detailed and often remarkably deft linear phrases. For the most part Rogers relies on a warm hollow body electric tone, though he adds some textural diversity with a nylon string acoustic guitar on the standard "Young and Foolish" and his own Latin-tinged "Esteban" and title track. 

Rogers' own compositions, while distinguished by more adventuresome constructs, remain in context through the modernization he applies to the standards surrounding them. The title track is a through-composed piece that begins in Ralph Towner territory, but ultimately opens into a more abstract middle section with Colley's beautiful arco delivering the spare but lengthy melody. "Ides of March" is even more intricate, all the more remarkable for the trio's uncanny and natural ability to navigate through it. Rogers' previous Criss Cross releases have demonstrated significant growth. The change in context of Time and the Infinite, with its mix of original composition and fresh takes on familiar tunes, presents a new side to Rogers, but one that's totally consistent with his existing body of work. ~ John Kelman  http://www.allaboutjazz.com/time-and-the-infinite-adam-rogers-criss-cross-review-by-john-kelman.php#.VDK2JhawTP8

Personnel: Adam Rogers: guitar; Scott Colley: bass; Bill Stewart: drums.

Time And The Infinite

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Al DeLory - Hot Gandinga

Styles: Latin, Cuban, Salsa
Year: 2009
File: MP3@320K/s
Time: 39:17
Size: 90,5 MB
Art: Front

(4:48)  1. Salsa Canon
(3:24)  2. Chanchullo
(5:58)  3. Hot Gandinga
(3:28)  4. Amor
(4:00)  5. Cachita
(4:00)  6. Zum Zum Babae
(3:56)  7. Salsa Mode
(4:41)  8. Guantanamera
(4:58)  9. La Pegadita

Al Delory needs no introduction to those who listen to the radio. Al DeLory was keyboard player in Phil Spector's famous and now legendary "Wrecking Crew" helping to create the "Wall of Sound" on hundreds of hit records for artists and groups in the 60's. Al DeLory... asked by executives at Capitol Records to produce Glen Campbell's third album, which then continued a music legacy of producing, arranging, and conducting dozens of recording sessions for major artists including Anne Murray, Wayne Newton, and The Lettermen.  

Al DeLory earned two Grammys, six Grammy nominations, and a multitude of gold and platinum records. Al DeLory again returns to his roots, presenting his second CD of sensuous Latin songs passionately selected and recorded with the signature style that only Al DeLory delivers. Hot Gandinga's spicy, saucy, salsa dance recipes immediately bring out authentic flavors set to entice. Hot Gandinga has yet another surprise, Al DeLory's daughter Donna, who sings on two selections, bringing together for the first time the professional music talents of both. ”Hot Gandinga" and Al DeLory's first Salsa CD "Floreado"... both Latin music essentials. http://www.cdbaby.com/cd/aldelory2

Hot Gandinga

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Erroll Garner - Body & Soul

Bitrate: 320K/s
Time: 58:35
Size: 134.1 MB
Styles: Bop, Swing, Piano jazz
Year: 1991
Art: Front

[3:44] 1. The Way You Look Tonight
[2:59] 2. Body And Soul
[2:06] 3. Indiana
[3:23] 4. Honeysuckle Rose
[3:36] 5. I'm In The Mood For Love
[2:57] 6. I Can't Get Started
[2:22] 7. Play, Piano, Play
[3:08] 8. Undecided
[2:41] 9. You're Blase
[2:48] 10. Sophisticated Lady
[2:41] 11. Ain't She Sweet
[2:46] 12. I Didn't Know
[2:20] 13. Fine And Dandy
[3:17] 14. Robbins' Nest
[3:13] 15. Please Don't Talk About Me When I'm Gone
[3:16] 16. It's The Talk Of The Town
[2:26] 17. You're Driving Me Crazy
[3:07] 18. Ja-Da
[2:58] 19. Summertime
[2:38] 20. I Never Knew

As was the case with Fats Waller, Erroll Garner's natural and advanced musical talent ingratiated him to jazz aficionados and experts alike. Garner took to the piano intuitively, never needing to take lessons because of his exceptional ear for music. Further breaking the mold, he transcended many of the jazz styles he came up with, including both swing and bebop. You hear the power of swing pianist Earl Hines in his fleet and robust approach, and, yes, he once played with Charlie Parker, but as heard on this Columbia collection from 1951-1952, Garner concocts a unique blend of the big band's svelte rhythms and bebop's heady swing. On the 20 gems found on Body and Soul, Garner employs a rush of dynamics, yet never compromises the inherent lyricism of the set's many standards. This balancing act cuts across a varied set of brisk swingers (Waller's "Honeysuckle Rose"), fine ballads ("I Can't Get Started"), and medium-tempo strollers ("It's the Talk of the Town"). In light of Garner's thoroughly engaging and self-contained work at the piano, even the fact that bassist John Simmons and drummer Shadow Wilson are practically inaudible becomes negligible. Garner bolsters many of these "little symphonies" with clever intros: a miniature recasting of the song's chord and harmonic structure, heard to sublime effect here on "Summertime" and "Body and Soul" (Garner would expand these preambles in the future, particularly on solo piano outings). And in response to criticisms of his playing being too ornate (extra tremolo on the ballads), it should be said that part of Garner's charm is his "old-fashioned" phrasing, part of the romantic and urbane touch he employs to keep said indulgences in check most of the time. Body and Soul is a fine collection of early Garner sides. Highly recommended. ~Stephen Cook

Body & Soul

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Sherie Julianne - 10 Degrees South

Bitrate: 320K/s
Time: 49:37
Size: 113.6 MB
Styles: Brazilian jazz, Bossa Nova
Year: 2014
Art: Front

[3:16] 1. Bananeira
[2:35] 2. Watch What Happens
[3:09] 3. O Pato
[5:04] 4. Bonita
[4:28] 5. Brasil Nativo
[3:14] 6. A Ra (Feat. Marcos Silva)
[3:43] 7. Encontro
[4:46] 8. Painting
[4:30] 9. Maracatu, Nacao Do Amor (April Child)
[5:24] 10. O Barquinho (Little Boat)
[5:09] 11. The Look Of Love
[4:12] 12. So Many Stars

Sherie Julianne’s path to singing Brazilian music took many unexpected turns—from a musical childhood in Miami to studying and teaching dance in San Francisco to working over the last decade with her mentor Marcos Silva at the Jazzschool in Berkeley. Silva, a native of Rio de Janeiro, is also Julianne’s collaborator on the singer’s ravishing debut, "10 Degrees South."

“I can’t explain exactly what it was but I fell completely, totally, and utterly in love with Brazilian music and started listening to it all the time,” Julianne says. “I’m American, not Brazilian, and I wanted to find music that fits my personality, that speaks to my American roots, while being immersed in Brazilian rhythms.”

Julianne possesses a translucent honey-amber voice ideally suited for the lithe and flowing melodies that distinguish so many Brazilian standards. Her supple sense of time and her facility at brisk tempos makes her a double threat, emotionally incisive on ballads and fearless on breakneck arrangements. She’s joined by a superlative cast of musicians, including master pianist/arranger Marcos Silva, who’s worked extensively with a long list of Brazilian and American jazz musicians, Leny Andrade and Flora Purim and Airto among them; veteran saxophonist/flutist Mary Fettig; and the dynamic rhythm section tandem of drummer Phil Thompson and bassist Scott Thompson (no relation). Ace guitarist Jeff Buenz, who has performed and recorded with the great Brazilian jazz vocalist Claudia Villela, rounds out the ensemble.

10 Degrees South

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Swing De Gitanes - Muza

Bitrate: 320K/s
Time: 55:59
Size: 128.2 MB
Styles: Gypsy Swing
Year: 2011
Art: Front

[3:33] 1. You Made Me Love You
[4:16] 2. The Godfather Love Theme (Speak Softly To Me)
[4:19] 3. J'attenrai
[2:53] 4. Sweet Sue
[4:33] 5. Montagne Sainte Genevieve
[2:53] 6. Rhythm Isreal
[4:15] 7. Blue Drag
[2:22] 8. Honeysuckle Rose
[3:55] 9. Honeymoon
[4:17] 10. Nuages
[3:31] 11. Burning Guatemala
[4:46] 12. Tchavolo Swing
[3:09] 13. Honey Pie
[2:39] 14. Black And White
[4:31] 15. Danube

In October 2006, two stories that had been running in parallel converged into one: the story of Swing de Gitanes. Oren Sagi had been playing Gypsy jazz with Roman Alexseyev’s band in 2006. He went on to meet Bar Zalel and the violinist Mirel Resnick, who were also playing this style, and developed an intense yearning to play Django’s music. In the meantime, a friend of his told Oren of a guitarist who was completely obsessed with Django Reinhardt and never stopped talking about him, calling up images of scenes from the movie “Sweet and Lowdown” in Oren’s mind.

October 2006 is when Yaakov Hoter returned to Israel, having played In a Gypsy jazz jam session for the first time (in Copenhagen), meeting John Larsen and Walter Clerici and taking his first lessons in this style. On his return, Yaakov’s childhood dream of learning Django’s music from the source and playing like the Gypsies was burning within him. As soon as he got off the plane, he was anxious to get started organizing a Gypsy swing band. That’s when he heard Oren’s message.

It wasn’t long before Oren, Yaakov and Bar established Swing de Gitanes. Love for this kind of music blossomed. A group of dedicated fans and like-minded musicians grew up around the band’s weekly performances at a neighborhood café. A different guest sat in with the band every week. There were accordionists, violinists, saxophone players and guitarists. One of those guest guitarists stood out above all the others because of his devotion to Django and his original playing – Ori Ben Zvi. He was inspired by Swing de Gitanes to fly to Holland, study the Gypsy style intensively and acquire a Gypsy guitar.

As soon as he got back to Israel, he joined the band, which soon settled into its current lineup. The group’s special musical character was planted thanks to the open flow of ideas between the three musicians, each of whom is a soloist in his own right, and blossomed because of the friendly interaction between the musicians, their intense love of the music and the exchange of roles that allows each of them to express his talents in many ways: as an accompanist, a leading soloist and an ensemble member.

The band is dedicated to exposing the Gypsy swing style to the Israeli public and bringing leading Gypsy jazz musicians from around the world to Israel. Swing de Gitanes has already played host to Jon Larsen (the founder of the Hot Club Records label) and Hot Club de Norvèges, Lulo Reinhardt (in honor of the 100th anniversary of Django Reinhardt’s birth), Daniel Weltlinger (who was featured as a guest artist on the CD, “Muza”), clarinetist Evan Christopher from New Orleans, Antal Postai (Romania), Mauricio Flavio (Italy) and more.

Muza

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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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