Eric Alexander - Nightlife In Tokyo

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 57:59
Size: 133,1 MB
Art: Front

(7:56)  1. Nemesis
(7:55)  2. I Can Dream, Can't I?
(6:31)  3. Nightlife In Tokyo
(7:54)  4. I'll Be Around
(8:21)  5. Cold Smoke
(7:35)  6. Island
(6:12)  7. Big R.C.
(5:30)  8. Lock Up And Bow Out

"Nemesis," the opening track of Eric Alexander’s latest release, Nightlife in Tokyo, encapsulates within its twisting motif and exotic garb both the positive and negative qualities of the album. The motif is compelling, but only because it is so reminiscent of Coltrane tracks like “India” and “Naima.” The tune provides a utilitarian launching pad for Alexander’s skillful, well-developed, well-blown tenor improvisations, but fails to provide enough fuel to ignite truly burning runs. That said, it is certainly a well-crafted piece, just like all the material on the album. Even so the overall result feels somehow unsatisfying, and the real problem is that it’s frustratingly difficult to figure out why. There is no doubt whatsoever that Alexander knows his saxophone, and knows almost everything there is to know about the players that have preceded him on the instrument. In cases like these, however, it remains questionable how essentially good this exhaustive familiarity actually is. Alexander’s compositions display versatility and a great sense of balance. His tone is rich and cultured. He knows when to bend and when to remain firm, his phrasing is always right on the money, and he interacts well with his rhythm section. As is often the case on albums like this, it’s just this interaction which provides the most compelling listening material. 

Ron Carter’s bass work stands out, particularly on the relatively driving title track, “Nightlife in Tokyo." In fact, there is no point where the instrumentation, phrasing, tone quality, or note choice stand out as particularly unappealing. In fact, that may be the problem. There is a deliberateness to Alexander’s playing which makes his smooth tone feel too controlled and his Coltrane-esque squiggles and tremolos too calculated. It often feels like there are two Alexanders playing simultaneously: the first initiating the impulse, and the second checking that impulse against an enormous file of technique, phrases, and historic data. This becomes increasingly notable on slower ballads like “I’ll Be Around” than on the edgier, harder tunes such as the already mentioned “Nemisis” and the album’s stand-out piece, “Cold Smoke.” Overall, this is a solid, straight ahead album that once again reveals Alexander’s tone control and dexterity. There are individual moments and tunes that will without doubt capture the attention of individual listeners. Each listener will most likely identify a favorite tune or two, just as this reviewer has. However, over time the individual tracks tend to bleed together, just as much of today’s jazz output does as a whole, to create a rather homogeneous landscape. ~ Franz A.Matzner  http://www.allaboutjazz.com/nightlife-in-tokyo-eric-alexander-fantasy-jazz-review-by-franz-a-matzner.php#.VDVS7BawTP8

Personnel: Eric Alexander: Tenor Saxophone; Harold Mabern:Piano; Ron Carter: Bass; Joe Farnsworth: Drums.

Nightlife In Tokyo

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Miriam Waks - Waksing Lyrical

Styles: Vocal, Bossa Nova
Year: 2014
File: MP3@320K/s
Time: 37:05
Size: 88,8 MB
Art: Front

(1:53)  1. There's Gotta Be Something Better Than This
(4:54)  2. Black Coffee
(3:31)  3. Chega de Saudade
(2:04)  4. Tu vuo f'a l'americano
(3:44)  5. I Keep Going Back to Joe's
(3:25)  6. Si Veriash
(3:59)  7. Peel Me a Grape
(3:40)  8. La vie en rose
(3:16)  9. Veinte Años
(3:02) 10. Hard-Hearted Hannah
(3:32) 11. Al Di La

Waksing Lyrical is an elegant, sophisticated debut album from Sydney’s Miriam Waks. Light jazz inflections mingle in an intimate, lounge-inspired atmosphere as she tours an eclectic  set of standards, chansons and a couple of quaint, unexpected choices. There’s no doubt Waks can deliver a genuinely contemporary sound when she has to. Check out her collaboration with Coptic Soldier on “Why Suffer” for evidence. So when I say that in some ways, the overall effect of Waksing Lyrical is disarmingly old-fashioned, I mean it in the most complimentary way: her diction is perfect, regardless of the language she’s singing in (and her linguistic skills are nicely showcased). You get every word, which is rare in an age of overwhelming production values. And there is an air of traditional, pared-back simplicity about the whole project that is utterly refreshing.Kerrie Biddell has done a discreet job on the mixing desk, leaving plenty of air around Waks and her accomplished trio pianist Michael Bartolemi, Ben Waples on double bass and drummer James Waples (they’re joined by her uncle, Nathan, on cello for “La Vie en Rose”).

Waks has a lilting soprano voice that really tugs the heartstrings on the ballads. But she also throws in some earthy grit and nuanced comedy on more lived-in numbers like “Peel me a Grape”, “Black Coffee”, “Hard-Hearted Hannah” and the suitably torchy “I Keep Going Back to Joe’s”, phrasing with confidence and clarity. She attacks “There’s Gotta be Something Better Than This” with restrained bravado. The Portuguese and Spanish numbers “Chega de Saudade” and “Veinte Años”, in particular throb with dignified emotion, and she has a sweet, wistful approach to “La Vie en Rose”. Further proof of her stylistic range is provided by the Sephardic song, “Si Veriash”, on which she reveals real vocal ease and flexibility. As I’m writing this Eurovision 2011 is fast approaching, so the presence of “Al di La” rates a special mention. Although Betty Curtis failed to win the 1961 contest for Italy with this stately, sentimental ballad, it became a signature song for Connie Francis. Dated it might be but here, dusted off and polished up by Waks, it gleams afresh, full of yearning and regret for what might have been. http://cry-me-a-torch-song.com/2011/05/10/album-review-miriam-waks-waksing-lyrical/

Waksing Lyrical

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Eric Krasno - Reminisce

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 49:06
Size: 112,8 MB
Art: Front

(5:10)  1. Roll Out
(4:36)  2. Reminisce (End Of The Movie)
(4:33)  3. 76
(5:43)  4. Get Back
(3:39)  5. Be Alright
(5:24)  6. Enhorabuena
(4:45)  7. Tilt
(5:15)  8. Manic Depression
(4:37)  9. Song For Dilla
(5:19) 10. Up And Out

There are no surprises on Soulive guitarist Eric Krasno's first solo album, but that's a good thing. Even with the familiar names involved in a project that's resulted in Reminisce, the music is fresh and wholly contemporary.The album was produced by Krasno, and features mostly his own material. Soulive drummer Alan Evans recorded and mixed, while his brother Neal appears on keyboards. Still, there's no apparent loss of objectivity: this is not a retreading of Soulive's music and, while there are obviously some similarities to it as well as Krasno's other project Lettuce (most obviously in the use of horns as during "Roll Out")the finished project is more along the lines of vintage jazz-rock fusion, albeit with a decidedly funky feel. Yet unlike much of what passed for that hybrid music during its heyday, tracks like "76" are naturally earthy, from the tight syncopation of Adam Deitch's drumming to the quirky but mellifluous synthesizer sounds. 

The snappy inclusion of The Beatles "Get Back" is an absolute revelation, not so much because of Krasno's guitar playing it's as precise as always in rendering and elaborating upon the main melody line but in the way the collaborators fashion its organic arrangement to include punchy horns and classic Hammond B3. Recorded over an extended period of time, the diversity of Reminisce does not undermine its cohesiveness; notwithstanding its influences, it's inventive on its own terms. For instance, "Be Alright" may recall Stevie Wonder; more than just the sound of Nigel Hall's vocal, there's not a note wasted anywhere on the cut. Hall can be histrionic on stage, but when he sings on this album, he's as focused as all of the musicians. On the cover of Jimi Hendrix's "Manic Depression," Krasno, Hall and company wisely don't try to copy the original version of the late guitarist, but simply bring out the R&B elements (Philly soul as well as Sly Stone) hidden below its psychedelic surface. 

Here, Krasno's ripping guitar illustrates why he's not averse to featuring his partners at various points and, whenever he steps forward, the power and nuance of his playing is captivating. Still, it's not just the magic of the studio that allows saxophonist Ryan Zoidis to turn himself into a complete horn section on "Tilt," it's also the unabashed gusto of his playing. And Deitch's drumming throughout is an absolute wonder, which prompts the question: "How can a man dig into a groove so deeply?" The title, subtitled "End of the Movie," conjures an ethereal mood that suits the rolling of credits on a moving piece of cinema. But it also suggests yet another opportunity of which Krasno may avail himself in the future. If the ten tracks that precede this one don't open his future wide enough. ~ Doug Collette  http://www.allaboutjazz.com/reminisce-royal-family-records-review-by-doug-collette.php#.VDWRfRawTP8
 

Personnel: Eric Krasno: guitar, bass, background vocals; Neal Evans: organ; Nigel Hall: vocals, bass, Moog, keyboards; Adam Deitch: drums, percussion, Wurlitzer; Alan Evans: drums; Stu Brooks: bass; Louis Cato: bass, trombone, tambourine; Ryan Zoidis: saxophones.

Reminisce

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Julie Kelly - Into The Light

Size: 131,4 MB
Time: 56:25
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals
Art: Front

01. Love For Sale (4:11)
02. Hooray For Love (5:54)
03. Folks Who Live On The Hill (3:56)
04. Flor De Liz (Upside Down) (5:31)
05. Don't Be That Way (4:28)
06. Into The Light (One For Mogie) (4:40)
07. Heart's Desire (4:06)
08. Sonny's Bounce (Blues Steps) (3:53)
09. Kisses (5:17)
10. I've Got The World On A String (5:23)
11. His Eyes, Her Eyes (4:22)
12. They Say It's Spring (4:38)

Julie Kelly records all too infrequently. When a new album comes out, it is well worth looking forward to. She has not disappointed over the course of five records that have taken in jazz standards and new tunes with a sure-fire disposition that profiles a singer with heart.

Over the course of her long career Kelly has sung in a band with John Handy and has recorded with Ray Brown, Nat Adderley and Benny Green. Pretty good credentials, but it is her own work that gives her a presence.

Kelly interprets song in her own distinctive fashion. She gives a song a dimension that sets it apart and takes it into a new realm. Each song here is beautifully textured (save for the dry air that fills “Folks Who Live On The Hill”, which is just that tiny aberration) as she brings in her own interpretations riding on the exceptional arrangements of Bill Cunliffe and his lyrically resonant piano playing. Having said that, the rest of the band is expansive as well and adds to the atmosphere with clean ensemble lines and some fine solo spots.

Kelly lends a world-weary air to “Love For Sale”, an interpretation that testifies to the worn-out semblance of the offer. Brazilian music is at the heart of her disposition and she brings in a svelte snap to “Flor de Lis (Upside Down)” with an exultant flute solo. Ivan Lins is called upon for “Kisses” and Kelly weaves a warm, emotional performance.

There is an abundance of joy in the music. To do without it would be cutting far too straight a groove. She bounces with abandon in the exultation of “Hooray For Love” and if one looks for that trait of the jazz singer, scatting, Kelly gets that into the uppity “Sonny’s Bounce (Blues Steps)”. Oh yes, she can swing too and with all else she does, hammers square on the head that she is one darned fine jazz singer! ~Jerry D'Souza

Personnel: Julie Kelly-vocals; Bill Cunliffe-arranger, piano; Tom Warrington-bass; Joe La Barbera-drums; Larry Koonse-guitar; Brad Dutz-percussion; Jeff Clayton-tenor sax; Holly Hoffman-flute

Into The Light

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Jared Gold - JG3+3

Size: 112,1 MB
Time: 48:06
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond B-3
Art: Front

01. Pendulum (5:26)
02. Spirits (3:40)
03. Sermonette (5:37)
04. Shower The People (5:34)
05. No Moon At All (4:07)
06. I Just Can't Stop Loving You (6:26)
07. Fantified (5:06)
08. Cubano Chant (4:47)
09. Charcoal Blues (7:19)

Personnel:
Jared Gold - organ
Dave Stryker - guitar
Sylvia Cuenca - drums
Patrick Cornelius - alto sax
Jason Marshall - baritone sax
Tatum Greenblatt - trumpet

Posi-Tone Records would seem to have the market cornered on both saxophonists and organists with Jared Gold at the top of the list on the latter.

The organ trio format gets a kick in the ass with the addition of a three person horn section and Gold's best compositions thus far. Joining Jared we have improvisational guitar wizard in Dave Stryker and rock steady Sylvia Cuenca on drums. Let's get the negative stuff out of the way first, shall we? I don't know that the covers of "Shower The People" and "I Just Can't Stop Loving You" make the transition to this format as well as perhaps intended. That being said, when you put together a band this tight then they could record the music of Sesame Street and it would swing!

Jared's tunes "Pendulum" and "Fantified" showcase his exponential growth as a composer as his skills as an instrumentalist certainly go unchallenged. The other two covers of Ray Bryant's "Cubano Chant" and Wayne Shorter's "Charcoal Blues" smolder with intensity. This is passion on a shiny silver disc. The horn section of Patrick Cornelius, Jason Marshall and Tatum Greenblatt add a smoldering soul that elevates a release that one might consider "predictable" to a new level of swing. Jared Gold is a force in modern jazz and an organ player that continues to grow artistically. Nothing to grind on here, you like organ? You will love this! ~Brent Black

JG3+3

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Anne Kerry Ford - Weill

Size: 142,0 MB
Time: 60:43
File: MP3 @ 320K/s
Released: 2006
Styles: Vocals, Cabaret
Art: Front

01. I'm A Stranger Here Myself (5:04)
02. My Ship (2:26)
03. Lonely House (4:00)
04. Pirate Jenny (5:47)
05. Tango Ballad (4:38)
06. One Life To Live (3:02)
07. Solomon Song (4:00)
08. Youkali (4:50)
09. Tschaikowsky (2:33)
10. Song Of The Rhineland (4:17)
11. Progress (3:17)
12. It Never Was You (2:16)
13. Surabaya Johnny (5:05)
14. Listen To My Song (5:26)
15. Lost In The Stars (3:54)

Anne Kerry Ford's third album, Weill, is quite an accomplishment for the actress and singer. A Juilliard graduate, Ford has been pursuing her muse in films, theatre, and now the Cabaret music of German-born Kurt Weill. Weill fled pre-war Germany in the early '30s to avoid the anti-Semitic fever that was a symbol of the years to come in Europe. When Weill arrived in the United States it signified a new beginning during which he collaborated with lyricists including Ira Gershwin, Maxwell Anderson, Langston Hughes and Ogden Nash. The earlier stage of Weill's work was his collaboration with Bertolt Brecht; Ford covers several of those compositions on this album.

For those who are approaching this album with the hopes of hearing a jazz appreciation of Weill, go no further. This is a bravura Cabaret performance by the very talented Ford, who reminds one constantly of that touch of the Weimar Republic during those turbulent days, as well as Weill's more Americanized songs. The only two of these that you may be overly familiar with are "My Ship," from Lady in the Dark, and the very dramatic "Lost in the Stars," from the 1947 film of the same name. Despite the many years that have passed since the Weill catalogue was composed, it can still bear an immediate stamp on today's times. German singer Ute Lemper—probably the leading exponent of Weill's music—has transformed his music into an anti-Bush message quite effectively.

Ford not only has the singing, but the acting chops, to enact the dramatic Weill lyrics, particularly early works like "Pirate Jenny," from The Threepenny Opera, and "Surabaya Johnny," from Happy End. Half of the album is presented musically with the sound of the period accordion peeking around the edges of her vocal delivery, and with the subtle but constant piano of John Boswell, who also does wonders to make this music come alive once more. Recorded live by the WDR Orchestra, all arrangements are by the famed Roger Kellaway, who keeps the charts somewhere between the past and the present. For example, on "Song for the Rhineland", sung partially in German by Ford, swaths of big band jazz come creeping through without marring the final product.

Among some of the other musical highlights are a delicious duet with Brian Lane Green on "Tango Ballad," with Brecht's lyrics translated by Marc Blitzstein. Another standout is the opening song "I'm A Stranger Here Myself," which typifies the performances as well as a comedic recitation of Classical Russian Composers in trip-hammer time on "Tschaikowsky". A similar technique was used by entertainer Danny Kaye on his "Tschaikowsky (and Other Russians)," done as a similar tongue twister.

Anne Kerry Ford is also accompanied by several other American jazz musicians. Ford's husband, the blues/rock guitarist, Robben Ford, has provided support for her projects before and appears on many of Weill's tracks. ~Michael P. Gladstone

Personnel: Anne Kerry Ford: vocals; Roger Kellaway: arrangements; WDR Big Band; Robben Ford: guitar; John Boswell: piano; Vanessa Freebaim-Smith: cello; William Artope: trumpet; Dan Higgins: woodwinds; Gary Meek: woodwinds; Gary Denton: snare drum; John Boswell: vocals; Brian Lane Green: vocals.

Weill 

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David Hamilton - 'S Wonderful: Solo Piano Renditions Of Classic Gershwin Songs

Size: 115,7 MB
Time: 49:42
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Piano Jazz
Art: Front

01. 'S Wonderful (4:02)
02. Someone To Watch Over Me (4:24)
03. Let's Call The Whole Thing Off (2:04)
04. Nice Work If You Can Get It (3:46)
05. I've Got A Crush On You (4:26)
06. Somebody Loves Me (3:10)
07. The Man I Love (3:53)
08. Prelude Ii (4:00)
09. Facinating Rhythm (4:01)
10. Summertime (4:50)
11. Lady Be Good (3:38)
12. Themes From Rhapsody In Blue (7:23)

David Hamilton is an accomplished and respected musician, a creative thinker with versatility, technique and artistic passion. He has earned a reputation as a premiere orchestral arranger and has a growing list of credits producing artist recordings, writing songs, playing keyboards and conducting choirs and orchestras. His music spans a wide range of musical genres on recordings from Shania Twain and Ricky Skaggs, to Renee Fleming and Lang Lang, to the Canadian Tenors, Amy Grant, Michael W. Smith, Israel Houghton, Heather Headley, Sandi Patty, Steve Green, Don Moen and many others. He has created music for the screen as film composer, arranger and orchestrator and arrangements for the Walt Disney Company, Macy’s, The Boston Pops, The New York Pops and the Nashville Symphony. He has also written and arranged an extensive body of choral music sung by churches across America as part of their weekly and seasonal expression of worship. David records in his hometown of Nashville and has recorded with musicians across the world in studios such as the renowned Abbey Road and AIR studios in London, in Prague, and on the Capitol, Warner Brothers and Paramount scoring stages in Los Angeles.

Mr. Hamilton is also a gifted conductor. He travels extensively conducting recording sessions and collaborating with artists as musical director for holiday, pops and choral concerts conducting top US orchestras such as the Dallas, Atlanta, St. Louis, Indianapolis and Virginia symphonies. He has also conducted at Carnegie Hall and has enjoyed serving as guest conductor for pops concerts with the Nashville Symphony on tour and at the Schermerhorn Symphony Center.

David began playing piano as a small child. His passion and love for music grew through his teenage years studying piano, writing and playing in church with the help of wise musical mentors along the way. He completed his undergraduate degree in classical piano performance also studying conducting and composition at the Wheaton College Conservatory of Music. He also earned a Masters degree in music, studying jazz composition, arranging, orchestration, recording and jazz vocal performance at the University of Miami School of Music; a potent blend of musical worlds and music education combining classical, popular, jazz and sacred music styles.

If you ask David what’s important to him, he’ll tell you, “I want to be an authentic man who loves his family and lives his faith. I don’t always get it right, but I’m grateful to be reminded time and again that my family and my music are gifts and God’s redemption shines in my deep need for grace. The famous quote by Saint Iraneus describes it well for me, “The Glory of God is man fully alive”. I’m grateful to feel more fully alive in the joy of making music not simply for the joy alone, but for the reason why -- which for me, makes all the difference.”

'S Wonderful

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Frances Faye - Frances Faye Sings Folk Songs (Remastered 2014)

Size: 103,1 MB
Time: 43:50
File: MP3 @ 320K/s
Released: 1957/2014
Styles: Jazz/Pop Vocals
Art: Front

01. Frankie And Johnny (6:13)
02. Greensleeves (4:17)
03. Skip To My Lou (2:12)
04. Lonesome Road (2:44)
05. Nobody Knows The Trouble I've Seen/Deep River/Goin' Home (4:31)
06. Johnny Has Gone For A Soldier (2:37)
07. St. James Infirmary (4:10)
08. Go 'way From My Window (2:24)
09. The Three Ravens (3:22)
10. Oh My Darling, Clementine (3:15)
11. Oif'n Pripitchik/Too-Ra-Loo-Ra-Loo-Ral/Come Back To Sorrento (4:12)
12. John Henry (3:49)

Frances Faye was a spirited middle-of-the-road pop/cabaret singer. During 1955-1957 she was one of Bethlehem's few non-jazz artists although being with that label resulted in her interacting with veteran jazz musicians. In 1957 when it looked like folk music was going to be the next big trend (it would be, but not until the early '60s), she recorded a set of traditional melodies while accompanied by brass and string orchestra arranged by Russ Garcia that included West Coast jazz players (including Maynard Ferguson, Don Fagerquist, and Frank Rosolino). Faye was not the most subtle of singers but she sounds quite expressive on such numbers as "Frankie and Johnny," "St. James Infirmary," "John Henry," a variety of ancient folk songs, and even "Clementine." Five previously unreleased alternate takes round out this intriguing program.

Frances Faye Sings Folk Songs

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Coleman Hawkins - Coleman Hawkins Encounters Ben Webster

Bitrate: 320K/s
Time: 46:01
Size: 105.3 MB
Styles: Saxophone jazz
Year: 1957/1997
Art: Front

[6:44] 1. Blues For Yolande
[5:46] 2. It Never Entered My Mind
[5:02] 3. La Rosita
[4:15] 4. You'd Be So Nice To Come Home To
[4:12] 5. Prisoner Of Love
[5:20] 6. Tangerine
[4:49] 7. Shine On Harvest Moon
[6:52] 8. Blues For Yolande
[2:59] 9. Blues For Yolande

One of the great studio sessions of the 1950's (and part of a series by producer Norman Granz to pair pianist Oscar Peterson’s trio with great horn players), Coleman Hawkins Encounters Ben Webster remains a jazz masterpiece. Musicians back then would often show up and call tunes instead of bringing original compositions to recording sessions. The concept may have been simple, but the performances by Hawkins and Webster, two of the greatest tenor saxophone players in jazz, are incredibly deep. The renditions of certain jazz standards on this classic album some of the most beautiful versions ever put on record.

Overall, this is a beautifully melodic and sensitive record. Its relaxed pace (it never gets faster than a medium swing) allows the masterful saxophonists to showcase their greatest strengths, namely their deep and distinctive tones and heartfelt interpretations of the melodies. While the album is a saxophone feature all around, the rhythm section provides the rhythmic depth to make the record all the more satisfying. Coleman Hawkins encounters Ben Webster displays a warmth and lyricism that is often lost in modern jazz in favour of complicated rhythms and harmonies. This record definitely goes on my list of essential classic listening. ~Jonathan Lindhorst

Recorded: October 16, 1957 on Verve Records. Coleman Hawkins – Tenor Sax; Ben Webster – Tenor Sax; Oscar Peterson – Piano; Herb Ellis – Guitar; Ray Brown – Bass; Alvin Stoller – Drums.

Coleman Hawkins Encounters Ben Webster

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Sarah Partridge - Perspective

Bitrate: 320K/s
Time: 53:50
Size: 123.2 MB
Styles: Vocal
Year: 2009
Art: Front

[2:51] 1. Wonder Why
[3:57] 2. Gypsy In My Soul
[4:08] 3. I'll String Along With You
[3:11] 4. Never Never Land
[3:12] 5. Perspective
[4:41] 6. It Could Happen To You
[3:42] 7. My Romance
[3:57] 8. 'tis Better To Have Loved And Lost
[3:42] 9. I'll Take Romance
[3:22] 10. I Ain't Got Nothin' But The Blues
[4:51] 11. I Just Won't Let You Go
[3:14] 12. Back In Your Own Backyard
[3:18] 13. Only Trust Your Heart
[5:37] 14. Skylark

Sarah Partridge's recital, Perspective, follows three previous vocal recordings that mark the second half of her dual career as actor and singer. On her current offering, Partridge performs a collection of standards, with pianist Daniel May. that is as fresh and solid as Partridge's perfectly refined voice. The true beauty in Partridge's vocal delivery is her no-nonsense conservative approach to melody. She is much more a song stylist as opposed to a jazz singer, but then again, that is just semantics. Her interpretive gifts come closer to a Frank Sinatra or Barbra Streisand than a Mark Murphy or Betty Carter.

The enduring chestnut "Skylark" is a well-equipped vehicle for Partridge's perfectly balanced voice. The singer and pianist May are well-matched for this famous ballad, both approaching the piece with a careful, quiet grace respectful of its composers, transparently performing the song so that the genius of Johnny Mercer and Hoagy Carmichael shines through unimpeded. May's piano is light and melodic, a bed of violets upon which Partridge's warm voice reclines. ~C. Michael Bailey

Sarah Partridge: vocals; Daniel May: piano.

Perspective

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Jo Jones - Smiles

Bitrate: 320K/s
Time: 68:34
Size: 157.0 MB
Styles: Swing, Mainstream jazz
Year: 2008
Art: Front

[ 4:07] 1. Love Is Just Around The Corner
[ 5:51] 2. I Cried For You
[ 3:16] 3. A Wig On The Bold Headed Mountain
[ 2:40] 4. I Found A New Set Of Drums
[ 3:12] 5. Dinah
[ 2:34] 6. In A Little Spanish Town
[ 3:10] 7. Slide Jimmy Slide
[ 3:06] 8. The Way You Look Tonight
[ 2:49] 9. Smiles
[15:44] 10. Caravan
[ 4:04] 11. On The Sunny Side Of The Street
[ 4:54] 12. Pennies From Heaven
[ 3:51] 13. Little Miss Maudlin
[ 9:09] 14. I Found A New Chapeau

Papa Jo performed regularly in Europe and especially in France during the late 1960s through a large part of the 1970s. This album captures some of those performances as recorded by Disques Black & Blue (hence, 'The Definitive Black & Blue Sessions'.)

The first ten tracks were released as Jo Jones - Caravan in 1974 by Disques Black & Blue, and dominate the album. Those tracks were recorded on 28 February 1974 at Barclay Studios in Paris, except Slide Jimmy Slide, which was recorded on 26 February in the studio, and Caravan was recorded live in Paris on January 13th 1974. Personnel on the first ten tracks are: Papa Jo Jones on drums, Major Holley on bass (except for Caravan), Gerry Wiggins on piano on all tracks except for Slide Jimmy Slide, which has Milt Buckner on piano, and Caravan, which has Milt Buckner on organ. Illinois Jacquet is on tenor saxophone on Caravan. The remaining four tracks, taken from other Paris performances between 1969 and 1975, have basically Papa Jo Jones on drums and Milt Buckner on organ. ~Mike Tarrani/amazon

Smiles

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David Hazeltine - The New Classic Trio

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 57:19
Size: 131,8 MB
Art: Front

(5:18)  1. My Heart Stood Still
(6:13)  2. I Wish I Knew
(5:55)  3. Hob Nob With Brother Bob
(6:48)  4. I'll Let You Know
(5:29)  5. Blues for Sharpie
(5:15)  6. I'll Keep Loving You
(5:23)  7. Another Divergence
(4:34)  8. Bossa for All
(5:55)  9. The Rebound
(6:24) 10. Come Rain or Come Shine

David Hazeltine is one of many accomplished jazz pianists based in New York City, developing an international following with his recordings for labels in Europe and Japan, in addition to the U.S. Some of his best work has been for Sharp Nine, which released his debut CD in 1995, several tracks of which focused on piano trios. The New Classic Trio features his regular drummer Joe Farnsworth, and the seasoned veteran George Mraz (who has recorded as member of the Oscar Peterson Trio, the Thad Jones-Mel Lewis Orchestra, and the Stan Getz Quartet, in addition to his work as a leader). Opening with a playful stop-and-go rendition of the standard "My Heart Stood Still," Hazeltine puts the spotlight immediately on Mraz, while Farnsworth's light brushes provide a terrific backdrop for the leader's driving solo. Mraz is also prominent in the whispering introduction to the bluesy take of "Come Rain or Come Shine." Hazeltine contributed several strong originals, including the hip "Blues for Sharpie," the constantly shifting "Another Divergence," and the infectious hard bop vehicle "The Rebound." Conga player Jose Alexis Diaz is added for Latin-flavored arrangements of "I Wish I Knew" and Bud Powell's "I'll Keep Loving You." This is an excellent addition to David Hazeltine's impressive discography. ~ Ken Dryden  http://www.allmusic.com/album/the-new-classic-trio-mw0002421994

Personnel: David Hazeltine (piano); Joe Farnsworth (drums).

The New Classic Trio

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Judy Collins - Wild Flowers

Styles: Folk
Year: 1967
File: MP3@320K/s
Time: 36:07
Size: 83,6 MB
Art: Front + Back

(3:11)  1. Michael From Mountains
(2:35)  2. Since You Asked
(2:33)  3. Sisters of Mercy
(4:57)  4. Priests
(4:37)  5. Lasso! Di Donna
(3:16)  6. Both Sides Now
(4:40)  7. La Chanson Des Vieux Amants
(1:49)  8. Sky Fell
(4:52)  9. Albatross
(3:32) 10. Hey, That's No Way To Say Goodbye

Soothing. Unique. Natural. These are clear adjectives used best when describing the style and grace of Judy Collins and her album Wildflowers. Her blend of folk and meditative music paints a tapestry of soft, nurturing colors that transcends the mind of the listener and seeks one's soul. Much of the material feels uplifting and full of spirit, or even spiritual to some degree. Yet other parts of the record can be viewed and felt as sad and morose, which gives the record some dexterity and variety among its ability to appeal toward contrasting moods. Collins makes a well-earned statement in her original tunes "Since You Asked," "Sky Fell," and "Albatross," that deep, meditative, and subtle can be effective within the realms of music as an art form. She is certainly artistic with her approach, staying away from the clichéd folk and pop music that flooded much of the '60s radio-friendly airwaves. Collins also includes her favorite melodies from the songbooks of Joni Mitchell and Leonard Cohen. This can benefit one as a pleasant listen, easy to sooth the mind and body, and release the burdens of everyday stress in society. ~ Shawn M.Haney  http://www.allmusic.com/album/wildflowers-mw0000651146

Wild Flowers

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Ross McHenry - Distant Oceans

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 72:10
Size: 165,6 MB
Art: Front

(8:58)  1. Intercosmos
(5:18)  2. Living On The Both Sides
(5:26)  3. Grifith Park
(7:53)  4. Distant Oceans Pt 1
(5:42)  5. Distant Oceans Pt 2
(5:23)  6. Stanley Park Dream
(0:37)  7. Interlude II
(8:22)  8. Still Life Moving Fast
(1:17)  9. Interlude I
(8:30) 10. Malsbury Shale
(9:03) 11. Prayers
(5:35) 12. Lights Across The Sky

There’s something quite fresh about Ross McHenry and the way that he combines inspirations from the world of jazz and hip hop. On his new album Distant Oceans, he brings together an ensemble that includes Mark de Clive Lowe, Myele Manzanza, Adam Page, Dylan Marshall, Jon Hunt and Luca Spiler to see his vision through. The press release says that it “reimagines the modal jazz movement through the lens of contemporary music production.” We just think it’s one of the most ambitious records we’ve heard this year. In advance of its release, we talked McHenry into offering it up on Red Bull Music Academy’s website. 

Stream the results below. http://www.redbullmusicacademy.com/magazine/ross-mchenry-album-stream

Ross McHenry’s debut album Distant Oceans brings together 6 of the worlds foremost musical innovators for the first time on record. The ensemble features one of the most exciting and in demand producers and keyboardists in the world today, Mark de Clive Lowe, the rhythmic foundation of renowned NZ ensemble Electric Wire Hustle, Myele Manzanza, multi-instrumentalist and composer Adam Page and leading Australian instrumentalists Dylan Marshall, Jon Hunt and Luca Spiler. With a focus on new improvised music inspired by the LA beat scene and the worldwide new jazz movement, this highly original album traverses unique sonic landscapes reimagining the modal jazz movement through the lens of contemporary music production. Imagine John Coltrane meeting the Brainfeeder collective and you’re somewhere close to the sound of Distant Oceans. https://soundcloud.com/redbullmusicacademy/sets/ross-mchenry-distant-oceans

Personnel:  Ross McHenry – bass, programming; Mark de Clive Lowe – keyboards, laptop/electronics, live electronic manipulation; Myele Manzanza – drums; Adam Page – tenor, soprano, flute and loop pedals; Jon Hunt – bass clarinet; Luca Spiler – trombone; Dylan Marshall – guitar, programming

Distant Oceans

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Stefania Tallini - The Illusionist

Size: 101,3 MB
Time: 43:04
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Piano Jazz
Art: Front

01. Atlantica Saudade (2:58)
02. Ics Dance (3:12)
03. Acalanto Carioca (2:58)
04. Indaco (1:13)
05. Girasoli (2:20)
06. The Illusionist (2:48)
07. Choro Cubano (4:01)
08. Over The Rainbow (5:19)
09. Lilith Dance (2:52)
10. Guinga (3:01)
11. Alobrasil (1:11)
12. A Veva (3:38)
13. Bachiana (1:02)
14. La Spiaggia (3:29)
15. Tarante' 2001 (2:54)

Stefania Tallini, a highly acclaimed pianist, composer and arranger of the Italian and European jazz panorama, has now released her fifth record: The Illusionist, an intense solo piano recording made last January for Alfamusic. Like all her previous albums, The Illusionist is based entirely on original compositions, in which the pianist exhibits the evolution of her style, which has a deep, free and mature emotional power. The choice of making a solo piano recording has allowed her to dig deeper in order to find the essence of a musical world full of rich sensibility, in terms of both expression and composition. The record varies from profoundly moving melodic pieces with strong echoes of desire (Atlantica Saudade, The Illusionist and La Spiaggia) to compelling, vital and bubbling rhythmic pieces (Ics Dance, Choro Cubano and Tarantè). The Illusionist also contains two completely improvised tracks (Indigo and Alobrasil) in which the musician plays with the idea of double and triple overdubbing of additional sound tracks using unusual sounds. Finally there is a touching arrangement of Over the Rainbow, which is the only non-original composition on the disc, re-elaborated by Stefania Tallini in a very personal interpretation, fully consistent with her stylistic aim.

The Illusionist

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Janette Mason - D'Ranged

Size: 104,5 MB
Time: 44:22
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I Wish (3:48)
02. Got To Be Real (5:06)
03. Lady Grinning Soul (3:39)
04. How Deep Is Your Love (4:48)
05. Ashes To Ashes (This Is Not America) (4:59)
06. This House (7:43)
07. Blue Moon (4:49)
08. You Do Something To Me (3:02)
09. I Say A Little Prayer (6:22)

As the rocket fuelled gospelly soul groove fades out, with the horn section still going full throttle and Basement Jaxx vocalist Vula Malinga gliding effortlessly over the top, I settle back into my chair to pen this review with a grin on my face. Janette Mason’s arrangement of the Burt Bacharach classic I say a little prayer is a great end to this set, a series of arrangements of an eclectic mix of classic soul songs, 70’s disco and 80’s pop tunes. They’re all given a distinctive twist by arranger and pianist Mason, and performed by a stellar cast of collaborators from her wide ranging career: Claire Martin, Gwyneth Herbert, David McAlmont, Tatiana LadyMay Mayfield all contribute. They must have had great fun making this album. Sitting down at the launch party may not be an option.

After 2010’s Parliamentary Jazz Award nominated Alien Left Hand, a more overtly jazz orientated album, D’ranged marks something of a departure for the leader’s own releases. There are varied moods within the collection with the spirit of the originals sustained whilst being reshaped in Mason’s skilful hands. I wish bursts out of the speakers with a snappy left hand riff before Tatiana LadyMay Mayfield unfolds Stevie Wonder’s lyric over a rolling groove that hints at a jazzy modal feel, before switching to a more gospel like 4/4 for the hook. Blue Moon gets a repeating, haunting motif under Claire Martin’s wistful delivery that utterly transforms the Rodgers and Hammerstein standard, a standout track. Cheryl Lynn’s 70’s disco classic Got to be Real becomes a sensual, funky soul work out for Vula Malinga whilst the treatment Paul Weller’s You do Something To Me for Gwyneth Herbert, accompanied only by Mason’s piano is a haunting and affecting performance. There’s an instrumental, a take on Bowie’s Ashes to Ashes and the Bee Gees classic How Deep is your Love is a swooning ballad. After the dim the lights moments an infectious groove and a heart fluttering punchy backing vocal are never far away.

This is a set of covers, arranged (or "D'ranged") lovingly by Mason and oozing class in their delivery. ~by Mike Collins

D'Ranged

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Sophisticated Lady Jazz Quartet - Sophisticated Lady

Size: 155,4 MB
Time: 66:46
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. You Were Never Lovelier / I'm Old Fashioned (7:47)
02. Gone (2:32)
03. Isfahan (6:37)
04. For Andrew (5:20)
05. Strange Fruit (7:10)
06. Ropes Of Sand (4:51)
07. Finale (5:37)
08. Green Eyed Monster (3:09)
09. Night Night (5:53)
10. Sophisticated Lady (4:54)
11. Weightless (5:31)
12. Fields Of Kurdistan (7:19)

Sophisticated Lady’s debut album for Yarlung Records is an elegant stew of tradition-based jazz infused with some modern spice, a tasty dish sure to please the most discerning of connoisseurs. Working through a studio set of original pieces and classics, all recorded in one take, the quartet clearly demonstrates there is life in tradition yet. Innovation doesn’t have to be far out, strange, outre. Such innovation can sound “go-o-o-od,” very good.

The quartet, which met at USC where they were pursuing master’s degrees, consists of pianist Misha Adair Bigos, J.J. Kirkpatrick on trumpet and flugelhorn, Andrew James Boyle on drums, and Gary Wicks on bass. They work together like the proverbial well-oiled machine. This is an ensemble to be reckoned with.

The original material includes two pieces by Boyle, “Gone” and “Green Eyed Monster,” a darkly moody gem. Wicks contributes “Night Night,” a melodic lullaby of sorts and “Weightless,” which the liner notes point out harkens back to the sound of early Miles Davis. Kirkpatrick makes the most of it.

Bigos adds a trio of tunes: “Ropes of Sand,” written while visiting his grandmother, it has something of a haunting exotic quality; “Finale” is a dramatic swinger which ironically comes in the middle of the album, and “Fields of Kurdistan” closes the album. It was written in honor of executive producer John Pruit. “For Andrew” is listed as a quartet free improvisation on a “melody kernel” by Andrew Norman.

The standards begin with a Wicks arrangement of Jerome Kern’s “I’m Old Fashioned,” the earliest piece played by the ensemble. There is also a Wicks arrangement of Duke Ellington and Billy Strayhorn’s “Isfahan.” They do an inventive free improv on “Strange Fruit,” the protest ballad most often associated with Billie Holiday. And, of course, a quartet taking its name from the Ellington classic does not omit “Sophisticated Lady.”

Sophisticated Lady has put together a debut album that will be the envy of many a veteran jazz ensemble, and certainly a tonic for anyone with an ear for mainstream jazz. This is an album to be savored. ~Jack Goodstein

Sophisticated Lady

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Rob E Thomas - Who Am I?

Size: 112,2 MB
Time: 48:29
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Swing
Art: Front

01. Who Am I (2:27)
02. Angel Eyes (3:55)
03. Make It With You (2:59)
04. Does Anybody Really Know What Time It Is (4:08)
05. (They Long To Be) Close To You (5:28)
06. On The Street Where You Live/I've Grown Accustomed To Her Face (3:41)
07. Jardin Botanico (3:04)
08. Rainy Days And Mondays (3:25)
09. (Love Is Like A) Heatwave (3:15)
10. She Was Too Good To Me (4:35)
11. Macarthur Park The Moon's A Harsh Mistress (5:15)
12. The Way You Look Tonight (2:38)
13. What A Wonderful World (3:32)

In 1963, Rob made a name performing around the 60’s pop scene in Sydney as lead vocals for The Nocturnes. 1970’s were spent touring the Variety and Club circuit with The Thomas Brothers duo and as a solo artist. Following his interest in theatre, Rob graduated as an actor from NIDA in the 80’s. He cherished his 1206 performances singing in the ensemble of Les Miserables. Rob also appeared in Aspects of Love and developed his alter ego, saloon singer Tony Delarte, performing solo in cabaret and corporate venues. Currently, Rob can be heard announcing and producing jazz radio programs on Community Radio and singing swing with Big Bands in Sydney. This new jazz-influenced album, Who Am I?, is a fine work and will have broad appeal.

Who Am I?

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Ana Gasteyer - I'm Hip

Size: 85,1 MB
Time: 36:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Comedy
Art: Front

01. One Mint Julep (2:34)
02. I'm Hip (3:13)
03. Cheek To Cheek (2:17)
04. Sister Kate (2:34)
05. The Book Of Love (3:22)
06. Crazy People (2:47)
07. Shopping Around (2:58)
08. A Proper Cup Of Coffee (3:15)
09. (Theme From) Valley Of The Dolls (3:38)
10. Before He Cheats (3:49)
11. I Wantcha Around (2:17)
12. Defying Gravity (3:32)

When Ana Gasteyer steps up to the mic, she evokes the swagger of an era when a lady ruled a nightclub and an audience knew they were in for good time. The patter is real, the themes adult; the lyrics are timeless, and the music swings like crazy!

From songs like One Mint Julep and Proper Cup of Coffee to a surprisingly smooth rendition of Carrie Underwood’s Before He Cheats, Gasteyer’s saucy selections tell stories with humor, heartbreak...and just a little splash of soda. Her vibe recalls that of a time when entertainers truly entertained, an era when a broad could bring home the bacon, swing a set of sultry standards and still be a gracious hostess. Ana’s heroes are those fun-loving dames who downed a cocktail, donned a dress and fronted a band of dapper gents in sharp suits wielding shiny horns—think Barbara Stanwyck in Ball of Fire as she captures Gary Cooper’s heart. And then breaks it.

A violin player from the tender age of five, Gasteyer always had an ear for music and a knack for timing. Years later, after a formal education as a classically-trained singer, she made the fateful discovery that she could get people laughing—and laugh they did every Saturday night at NBC’s Studio 8H. Audiences fell in love with Gasteyer’s flair for irony and character driven comedy on six seasons of SNL, where she unabashedly played, and often sang, at full-tilt.

Eventually, Broadway came calling and Gasteyer spent several years belting out superstar vocals in shows like Wicked and Rocky Horror. But she felt most at home crooning and chirping with a big band in a nightclub, amidst laughter and the inviting clink of ice in a glass. Her acclaimed shows, Let it Rip and Elegant Songs from a Handsome Woman earned praise from audiences and critics alike who hailed the acts as “exuberant and rollicking entertainment” with “high-octane vocals” and “a topnotch swingin’ ensemble.”

The current star of ABC’s Suburgatory (and vampy Weight Watchers spoke-singer) has teamed with producer and “New York Nightclub Supernova” Julian Fleisher to make this Moxie Jazz album with an eclectic range of covers and reimagined classics.

I'm Hip

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Nicki Parrott - Autumn Leaves

Bitrate: 320K/s
Time: 65:53
Size: 150.8 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[3:44] 1. Autumn Leaves
[5:09] 2. Early Autumn
[5:21] 3. Autumn In New York
[5:13] 4. Autumn Nocturne
[4:28] 5. Autumn Serenade
[4:10] 6. Autumn In Rome
[5:09] 7. Tis Autumn
[4:27] 8. September Song
[4:39] 9. Lullaby Of The Leaves
[5:41] 10. Willow Weep For Me
[3:40] 11. Maybe September
[4:29] 12. September In The Rain
[5:04] 13. When October Goes
[4:31] 14. Stormy Weather

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.

Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It”, which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.

In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel. Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Warren Vache, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, to name a few.

Nicki is joined in this release by John Di Martino (piano), Harry Allen (tenor sax), Paul Meyers (guitar), Tim Horner (drums), Lisa Parrott (bariton sax) and James Greening (trombone).

Autumn Leaves

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