Al Cohn - Live With Laila Dalseth/Totti Bergh Quintet

Bitrate: 320K/s
Time: 70:57
Size: 162.4 MB
Styles: Cool, Mainstream jazz, Saxophone jazz
Year: 2002
Art: Front

[ 6:55] 1. Someone To Watch Over Me
[12:46] 2. Robbins Nest
[ 6:23] 3. Wrap Your Troubles In Dreams
[11:09] 4. East Of The Sun
[ 7:49] 5. Little Man You've Had A Busy Day
[ 5:37] 6. I Remember You
[ 7:17] 7. St.Thomas
[ 6:15] 8. Bewitched, Bothered And Bewildered
[ 6:40] 9. Stella By Starlight

An excellent tenor saxophonist and a superior arranger/composer, Al Cohn was greatly admired by his fellow musicians. Early gigs included associations with Joe Marsala (1943), Georgie Auld, Boyd Raeburn (1946), Alvino Rey, and Buddy Rich (1947). But it was when he replaced Herbie Steward as one of the "Four Brothers" with Woody Herman's Second Herd (1948-1949) that Cohn began to make a strong impression. He was actually overshadowed by Stan Getz and Zoot Sims during this period but, unlike the other two tenors, he also contributed arrangements, including "The Goof and I." He was with Artie Shaw's short-lived bop orchestra (1949), and then spent the 1950s quite busy as a recording artist (making his first dates as a leader in 1950), arranger for both jazz and non-jazz settings, and a performer. Starting in 1956, and continuing on an irregular basis for decades, Cohn co-led a quintet with Zoot Sims. The two tenors were so complementary that it was often difficult to tell them apart. Al Cohn continued in this fashion in the 1960s (although playing less), in the 1970s he recorded many gems for Xanadu, and during his last few years, when his tone became darker and more distinctive, Cohn largely gave up writing to concentrate on playing. He made many excellent bop-based records throughout his career for such labels as Prestige, Victor, Xanadu, and Concord; his son Joe Cohn is a talented cool-toned guitarist. ~bio by Scott Yanow

Live With Laila Dalseth/Totti Bergh Quintet

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Mary Cleere Haran - There's A Small Hotel

Bitrate: 320K/s
Time: 64:43
Size: 148.2 MB
Styles: Cabaret
Year: 1992
Art: Front

[0:48] 1. Introduction
[3:50] 2. Let's Do It
[2:48] 3. Interlude: Algonquin/Cole Porter
[3:17] 4. I Concentrate On You
[3:08] 5. Interlude: Regarding Rodgers & Hart
[4:23] 6. There's A Small Hotel
[4:35] 7. Personality
[7:30] 8. Interlude: Band Introduction Charles Boyer And Casbah
[4:50] 9. It Was Written In The Stars
[3:15] 10. Waters Of March (Aguas De Marzo)
[4:08] 11. Fine Romance Interlude: Dick Cavett/Dorothy Fields
[3:41] 12. I Won't Dance
[4:09] 13. Remind Me
[3:26] 14. (I'll See You In) Cuba
[0:53] 15. Interlude: Maurice Chevalier/Jeanette MacDonald
[5:02] 16. Lover
[1:27] 17. Interlude: Dressing Up
[3:24] 18. The Way You Look Tonight

An entertaining cabaret singer who swings when it fits the song, Mary Cleere Haran is heard in fine form on this live set from the Algonquin Hotel in 1992. Her talking between songs is entertaining, and, even though her repertoire is full of war-horses, her enthusiasm and appealing voice makes most of the material sound fairly fresh. This CD will probably be difficult to locate but cabaret collectors will want it. ~ Scott Yanow

Recorded live at the Algonquin Hotel, New York City, New York.

Mary Cleere Haran (vocals); Lee Musiker (piano); David Finck (bass); Dave Ratajczak (drums).

There's A Small Hotel

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Wallace Roney - No Job Too Big Or Small

Bitrate: 320K/s
Time: 75:02
Size: 171.8 MB
Styles: Post bop, Trumpet jazz
Year: 2009
Art: Front

[7:29] 1. Melchizedek
[8:48] 2. Alone Together
[6:04] 3. Daahoud
[6:05] 4. Obsession
[5:41] 5. Blue In Green
[4:19] 6. Donna Lee
[8:52] 7. Solar
[5:43] 8. Float
[6:06] 9. Lost
[8:19] 10. For Duke
[7:32] 11. Love For Sale

32 Jazz's No Job Too Big or Small contains 11 highlights (as chosen by producer Adam Dorn) from Wallace Roney's recordings for Muse in the late '80s and early '90s. Although these were made at the outset of his career, Roney was already at the top of his game, as evidenced by this highly enjoyable collection. While the original albums are certainly worth hearing themselves, this is an excellent introduction to the trumpeter's finest recordings. ~Stephen Thomas Erlewine

No Job Too Big Or Small

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The Jive Aces - Life is a Game

Styles: Swing
Year: 2004
File: MP3@320K/s
Time: 47:00
Size: 108,9 MB
Art: Front

(3:03)  1. Jive, Jive, Jive Aces
(2:49)  2. Start, Change and Stop
(3:04)  3. I've Got Affinity For You
(4:23)  4. Singing In The Rain
(2:14)  5. Second Chance To Fly
(3:23)  6. Long Distance Love Affair
(3:04)  7. High Energy Jive
(3:25)  8. Only Mugs Take Drugs
(3:36)  9. Clear Body, Clear Mind
(2:56) 10. White Cliffs Of Dover
(4:07) 11. Three Cats Called Louis
(3:14) 12. Sweet Georgia Brown
(3:58) 13. What A Wonderful World
(3:36) 14. Life Is A Game

“A group of lads from London, England were drawn together by their love for a style and music that outclassed anything else around.  The music was hot jive that had the beat, energy and enthusiasm of rock ‘n’ roll and the fun and rhythm of big band swing all rolled into one.  Their musical journey took them from Elvis Presley to Bill Haley and from Louis Prima to Frank Sinatra.  This was the sound that excited the guys so much that they quickly started dancing and would often be seen tearing up the floow when hot bands came to town.  The dancing became a musical learning ground with one common theme:  foot tapping, swinging, spirit-raising fun.  The lads loved dancing but iw was difficult finding bands that they could really swing to, so they turned their talents to making hot music themselves." ~ Website Press Release

The Jive Aces are a fun, swingin’ band.  Their music is upbeat and happy, just like swing should be.   You’ll find mostly jump blues style with a mix of jazz on this CD. The musicianship is very good.  Each get their turn to shine.  But what’s most inspiring about the musicians is that you feel through their music the joy they have about presenting it.  I’m sure some of that comes from their dance experience as well.  It’s reminiscent of Lucky Millinder, who also started out as a dancer before becoming a musician (Millinder actually became a band leader/singer).  My favorite song on the CD has to be Singing in the Rain.   Yes, that song.  It’s a fun, swingin’ version made famous by Gene Kelly in the movie but with a Louis Prima twist.  But there are lots of fun songs on this CD.  

I also liked White Cliffs of Dover, Jive Jive Jive Aces, and their crazy fast version of Sweet Georgia Brown.  Balboa dancers should really love the latter because of it’s 273 tempo plus the energy the band puts behind it.  The Jive Aces do a great job of getting a really full sound out of 6 musicians.  They’ve also done a great job writing original material that keeps swing fresh.  They are also not afraid to send a message.  Only Mugs Take Drugs is clear on it’s message and could easily be used in any anti-drug message.  They underscore the message with Clear Body, Clear Mind.  Hey, whether you like the message or not, the songs still swing!  A couple songs of note include Three Cats Called Louis and What a Wonderful World.  The former is a tribute to Louis’ Armstrong, Jordan and Prima.

 Three giants who have influenced more bands than you can shake a stick at!   The latter is a ballad done with an Elvis Presley flavor.  I don’t know if Elvis ever recorded this song but I bet it would sound similar to this version.  Overall, this is a fun, energetic CD.  It has lots of original music and a couple of covers.  A good mix with tempos made for swing dancing.   http://www.tcswing.com/CD%20Reviews/jiveaces.htm

The Band: Lead Vocals and Trumpet:  Ian Clarkson; Tenor Sax, Baritone Sax, Clarinet:  John Fordham; Piano:  Vince Hurley; Upright Bass:  Ken Smith; Trombone:  Alex Douglas; Drums:  Peter Howell

Life is a Game

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Joan Griffith & Laura Caviani - Sambanova

Styles: Guitar And Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 52:27
Size: 121,8 MB
Art: Front

(4:58)  1. Sambanova #1 in C
(5:45)  2. La Bellevue
(4:52)  3. Joan's Baiao
(3:58)  4. Pauleando
(5:13)  5. Choro
(6:10)  6. Sertao
(5:09)  7. Sambanova #2 in F Minor
(5:22)  8. Samambaia
(4:55)  9. Triste
(6:01) 10. Samba For Jacob

Antonio Carlos Jobim, Luiz Bonfa, Baden Powell, Ivan Lins... add now the name Joan Griffith, guitarist/bassist/mandolinist/composer who lives in the Twin Cities but whose heart beats in Rio, Sao Paulo and Bahia. From her first fascination with Brazilian rhythms as a teen in Nebraska to the college classrooms where she teaches jazz performance and composition, Joan has inhaled the warmth of bossa nova and choro, exhaling a personal fusion of the African, European and Amerindian traditions that define the soul of Brazil. Sambanova is not only the work of a gracefully lyrical performer but a showcase of Joan’s compositions that infuse the poetry and rhythms of Brazilian forms with modern jazz idioms. And one can not imagine a more sympathetic partner than Laura Caviani, a pianist of exceptional range whose uncanny rhythmic sense and soulful eclecticism offer the perfect musical bond to Joan’s guitar. Of Laura, Joan notes that “I have always loved her playing, her time is impeccable, her solos are breathtaking, but most of all she always plays with her whole heart and soul and with love.” On six of the ten tracks, the due is complemented by master percussionist Cyro Baptista, who Joan describes as “one of the world\'s great ambassadors of Brazilian music.” It has been more than a decade since Joan’s last recording, a duo with vocalist Lucia Newell, Enter You, Enter Love, which showcased several of Joan’s tunes and standards arranged with a Brazilian flair. Inspiration for the largely original Sambanova, says Joan, came from a guitar/piano recording by Cesar Camargo Mariano and Helio Delmira of Mariano’s “Samambaia.” 

In addition to “Samambaia,” Joan included arrangements of Jobim’s “Triste” (a haunting bossa nova) and Joao Lyra’s “Pauleando,” an energetic example of the rhythmically jagged “frevo” style of northeastern Brazil. The seven original tracks pay homage to the musical heroes of Brazil through the heart and mind of Joan Griffith: Opening with “Sambanova No. 1 in C,” Joan fulfills her goal to introduce the recording with “a tune that was upbeat, confident, swinging, a little bluesy...” as well as one that highlights the interplay of guitar and piano, Joan and Laura weaving back and forth with a joy that enhances anticipation for all that follows. “I must have been in a Getz/Gilberto mood” says Joan of her gentle bossa nova, “La Bellevue,” named for the Nebraska town where she spent her teens. No percussion on this track, just two voices, one soul. The Moorish tapestry of “Joan’s Baiao” gives this dance form, rooted in Brazil’s rural northeast, the composer’s intended “relentless and mysterious feeling,” highlighted by a darkly romantic collaboration among piano and percussion. 

The widely emotive form, “Choro” can mean to sing or cry, and here Joan moves us to both, a slow dance in which piano and classical guitar alternately tug the heart. Another baiao, this one from the arid “Sertao” region, has an air of majestic melancholy enhanced by the addition of Joan’s mandolin. Joan based her “Sambanova No.2 in F Minor” on a slow bossa written by her brother Marshall, taking it in a faster, blusier, samba direction. Cyro adds a magical shimmer on pandeiro. Let’s dance! “Samba for Jacob” closes this remarkable set, a tribute to the great choro mandolinist Jacob Bittencourt, aka Jacob do Bandolim. Says Joan, “I wanted to capture his spirit and send the listener off with a little ectasy.” Sambanova and the pen of Joan Griffith give us ten moments of ecstasy.  http://www.cdbaby.com/cd/joangriffith

Personnel: Joan Griffith – guitar; Laura Caviani – piano.

Sambanova

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Jason Moran - All Rise: A Joyful Elegy for Fats Waller

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 43:47
Size: 100,8 MB
Art: Front

(0:20)  1. Put Your Hands On It
(2:53)  2. Handful Of Keys
(6:10)  3. Jitterbug Waltz
(4:58)  4. Sheik Of Araby/I Found A New Baby
(3:42)  5. Ain't Misbehavin'
(4:03)  6. Yacht Club Swing
(2:36)  7. Lulu's Back In town
(4:05)  8. Two Sleepy People
(5:07)  9. The Joint Is Jumpin'
(3:46) 10. Honeysuckle Rose
(4:19) 11. Ain't Nobody's Business
(1:43) 12. Fats Elegy

Jason Moran is an artist who is not afraid to look back while constantly pressing forward. The 2010 MacArthur Fellow is a leading jazz pianist with moments of kinetic energy, agility, and sensitivity, the likes of his one-time teacher, the great Jaki Byard. Whether performing with varied ensembles and musicians, bringing new perspectives as the Artistic Director for Jazz at The Kennedy Center or combining freestyle jazz with live skateboarders in San Francisco, Moran's passion and capacity is having an impact in the way jazz is seen and heard. All Rise: A Joyful Elegy for Fats Waller re-envisions the music of the colorful pianist, singer, and entertainer who shook things up during the Harlem Renaissance in the 1920s and 1930s. Fats Waller's bright musical canvas is the perfect outlet for Moran's multicolored ideas; a boisterous amalgam of blues, jazz, and house music, reshaping famous Waller tunes like "Ain't Misbehaving" and "The Joint Is Jumpin." 

The recording harnesses Waller's infectious spirit caring less about the demarcation between musical genres while putting emphasis on Waller's incredible talents. In collaboration with respected multi-genre musician/vocalist MeShell NdegeOcello, the release is an extension of ideas that came to fruition in 2011 through the Harlem Stage commissioned Fats Waller Dance Party. Ongoing dates at venues and universities found people eager to put their dance shoes on and Moran donning an oversized papier-mâché mask of Waller's head as the band provided hot grooves. The signal that All Rise is anything but nostalgic arrives in the low pitched hip-hop processed voice in the funky "Put Your Hands on It" which sets up "Ain't Misbehavin'" with its snazzy horn arrangement, Moran jazzing it on Rhodes as Ndegeocello's sensual voice brings the song's famous lyrics. 

The musicians also include varied vocalists, members of Moran's Bandwagon trio Taurus Mateen on electric bass and drummer Nasheet Waits, and a tight horn section with heightened contributions from trombonist Josh Roseman and trumpeter Leron Thomas. The reworking of Waller's 1929 "Honeysuckle Rose" hits the sweet spot, the perfect combination of laid-back funkiness, smooth arranging and a soulful vamp. Though Waller was well known for his songwriting, Moran sheds light on his musicianship in "Lulu's Back in Town" with a riveting display of pianistic bravura and "Handful of Keys" where he adds his own virtuosic flair to Waller's well known stride-piano solo piece. Moran proves once again that jazz is a transformative art-form in his unique arrangement of Waller's "Jitterbug Waltz." The tune is almost unrecognizable yet gorgeously reshaped as saxophonist Steve Lehman adds a rousing solo to Moran's touching version. Regardless of the era in which created, music still has the ability to move listeners in varied ways whether to sing, dance, or simply listen in a new way. ~ Mark F.Turner  http://www.allaboutjazz.com/all-rise-a-joyful-elegy-for-fats-waller-jason-moran-blue-note-records-review-by-mark-f-turner.php#.VDfwRBawTP8
 

Personnel: Lisa Harris: vocals; Charles Haynes: drums, vocals; Stephen Lehman: saxophone; Tarus Mateen: bass; Jason Moran: Rhodes, piano, Wurlitzer; Meshell Ndegeocello: vocals; Josh Roseman: trombone; Leron Thomas: trumpet, vocals; Nasheet Waits: drums.

All Rise:  A Joyful Elegy for Fats Waller

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Deanna Reuben - The Look Of Love

Size: 127,0 MB
Time: 54:33
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals
Art: Front

01. How Do You Keep The Music Playing (5:08)
02. Body And Soul (4:59)
03. Lazy Afternoon, Summertime (5:40)
04. Here's That Rainy Day (5:17)
05. The Look Of Love (4:12)
06. My Funny Valentine (3:23)
07. I Concentrate On You (3:09)
08. More Than You Know (4:01)
09. This Masquerade (4:58)
10. Bewitched (5:19)
11. If I Never Met You (3:52)
12. I'll Be Seeing You (4:30)

Deanna Reuben captures the essence of romance through her heartfelt interpretation of our favorite songs. The Look of Love sends a message clearer than flowers or a box of candy or dinner and a movie. With this session, you get clarion vocals with a stellar jazz quintet that sparkles brightly through sensual ballads and upbeat rhythms. Tenor saxophonist Larry McKenna serves as Reuben's musical partner, adding rapturous melodies to her resonant vocal themes.

With a fluid delivery, she shapes each song like clay. The rhythm from bass and drums gives each piece a heartbeat, while Marty Mellinger's keyboards surround the session with synth strings and wallpaper of velvet. Reuben's attack moves with emotional force as she sends a passionate message through her charming interpretations. With "Summertime," for example, she explodes with the power of Shirley Bassey and creates lightning sparks along the way.

Most of the program, however, mellows out with soothing ballads that allow Reuben to wear her heart on her shirtsleeve. McKenna partners with her to add melodic grace. "The Look of Love" stands out for its floating quality as the singer caresses the familiar melody with a hug and a kiss. "I Concentrate on You" puts Reuben and McKenna together in one of those simpatico relationships that bring out the best from all parties. In her upper register, the singer wears thin when the volume diminishes, causing some of her sheen to fade. She's at her best when projecting forcefully up high and when crooning sweetly in the lower registers with that natural romantic spirit. ~Jim Santella

Personnel: Deanna Reuben: vocals; Marty Mellinger: keyboards; Larry McKenna: tenor saxophone; Keith Mohler: bass; Dave Santana: drums.

The Look Of Love

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Maurizio Geri Swingtet - Tito Tariero (Feat. Nicola Vernuccio)

Size: 117,7 MB
Time: 50:16
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Gipsy Jazz, Swing Jazz
Art: Front

01. Ali's Wing (4:19)
02. Gingillone (5:19)
03. Melancolia (3:46)
04. Melodie Au Crepuscule (3:29)
05. Cette Nuit La (4:31)
06. Presente Archeologico (4:25)
07. Rapido Per Algeri (3:28)
08. Algeri (3:00)
09. Foresta (5:05)
10. Hunn O Pani Naschella (4:45)
11. Piccolo Valzer (3:42)
12. Mito (4:21)

Gipsy-jazz and world music and songwriting. Guitarist pistoiese at third test on cd. 12 tracks of original tunes and standard manouche. Presentation at the Festival international Django Reinhardt.

The historical group of the manouche style in Italy the Maurizio Geri Swingtet comes out with its new disc, "Titus Tariero". Like the earlier work "Manouche e dintorni" (1996) and "open sky" (2002), this disc contains heterogeneous ideas that take inspiration from classic gipsy-jazz French, but also from the Italian tradition, from world music and songwriting.

The recording live in the studio retains the freshness of sound and of solo. Numerous original compositions ("little Waltz", "forest", "Gingillone", "quick to Algiers," "Algiers", "myth", "Ali's wing", "present" archaeological) that spread to an original and elegant reworking of some standard ("Melodie au crepuscule", "Bertossa or naschella tablets", "Melancholy", "Cette nuit là"), has always characterized the research work of the Tuscan formation. The drive to the historic Tuscan label Sound Materials.

Only Italian group to have participated in the festival Django Reinhardt in Samois (Paris), the Maurizio Geri Swingtet is still for many fans of the genre, and for those who seek an original approach and "Italian" swing manouche style.

Tito Tariero

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Myles Hayes - You Were Mine

Size: 101,1 MB
Time: 40:51
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Comin' Up Soon (3:04)
02. Skylark (3:43)
03. Danger Of Sleep (3:50)
04. Pure Imagination (3:50)
05. Sweet Life (2:43)
06. How Little We Know (2:42)
07. My Sweetest Dream (3:42)
08. Moon River (3:04)
09. But Not For Me (2:52)
10. Makin' It Your Way (3:50)
11. Happiness Is In Your Reach (3:25)
12. You Were Mine (4:01)

Originally from Mequon, Wisconsin, Myles Hayes studied vocal performance at Texas Christian University . Beginning his career performing in venues throughout the Midwest, Myles focused on such influences as Frank Sinatra, Dean Martin, Bobby Darren, Tony Bennett and Nat King Cole.
He recorded his first album entitled “Empty Tables” in 2005 and his second album entitled “Night & Day” in 2007, both by Grammy Award Winning Producer, Jordan Richardson at Fort Worth Sound.
Now based in Chicago, for the past seven years he has performed professionally in dozens of venues not only throughout the city, but also across the country. He can be found singing weekly at The Ritz Carlton Chicago, and is regularly featured as the pregame entertainment, or performing the National Anthem, for the Milwaukee Brewers, Chicago Bulls, White Sox and Cubs. Myles has recently appeared on National & International Television in commercial advertisements for companies such as Mistubishi & BNI Bank as well.
For his latest studio album, Myles teamed up with producer Anthony Gravino and four of the finest jazz musicians Chicago has to offer, to record both a new take on five jazz standards, and seven new originals destined to become classics. Through this album and his enthusiastic stage presence, his care-free charisma personify the legacy of his jazz predecessors. Wherever you may find him, Myles Hayes “brings new life to the standards of the Sinatra and Nat King Cole era by invoking his own unique style representative of a new generation of progressive jazz” -Fort Worth Star Telegram

You Were Mine

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Jimmy McGriff - At The Apollo (Original Album Plus Bonus Tracks)

Size: 100,7 MB
Time: 43:01
File: MP3 @ 320K/s
Released: 1963/2013
Styles: Jazz: Soul Jazz, Blues Jazz
Art: Front

01. There'll Never Be Another You (6:17)
02. The Deacon (6:50)
03. Frame For The Blues (5:45)
04. Red Sails In The Sunset (4:40)
05. A Thing For Jug (5:42)
06. We Four (5:47)
07. Blip Time (Bonus Track) (3:21)
08. One Of Mine (Bonus Track) (4:37)

There's no question; organist Jimmy McGriff and company cook up some steaming blues grooves on this live date. Beyond that, though, there is little that distinguishes this set from countless others in the same mold. McGriff and his band are a dynamo when they unite in churning, bluesy bluster. As individual players, however, no one here generates much in the way of a memorable performance. Next to the roar of the leader's Hammond, guitarist Larry Frazier's fills and rhythm work sound slight. He's better when he steps forward to solo in a frenetic Chicago blues style. Saxophonist Rudolph Johnson honks and barks with a spirited, but limited, vocabulary of licks. Drummer Willie Jenkins clatters away with vigorous abandon, but never at the expense of the groove. To McGriff's credit, he pulls these talents together so they total something more than the sum of the parts. The band shines brightest on the McGriff originals "The Deacon" and "A Thing for Jug." This is where Frazier, Johnson, and Jenkins most effectively combine forces with the leader's meat-and-potatoes music and groove-bound B-3 to do what they do best -- play the blues. Amen. ~Review by Jim Todd

At The Apollo

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Linda Kosut - Easy Come, Easy Go: The Music Of Johnny Green

Size: 145,1 MB
Time: 61:45
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. The Turntable Song (2:00)
02. Hello My Lover, Goodbye (3:38)
03. I Cover The Waterfront (5:21)
04. Foolish Baby (3:34)
05. There's A Ring Around The Moon (4:00)
06. Betty Boop (2:32)
07. Am I In Another World (4:41)
08. I Wanna Be Loved (3:44)
09. You Wanna Keep Your Baby Looking Right (3:51)
10. I'm Yours (3:49)
11. Easy Come, Easy Go (4:33)
12. I Love A Mystery (2:30)
13. Candlelight (2:15)
14. Derry Down Dilly (3:40)
15. Body And Soul (5:06)
16. Gonna Fall In Love With You (3:22)
17. Never 'til Now/The Song Of Raintree County (3:01)

Award winning jazz and cabaret performer Linda Kosut’s new release “Easy Come, Easy Go: The Music of Johnny Green,” is a tribute to the great composer and music director.”

Kosut’s appearance coincides with the release of her third CD, “Easy Come, Easy Go: The Music of Johnny Green,” on the LML Music Label. Produced and arranged by Mike Greensill, the CD represents a 3 year research project into the life and music of John W. Green, composer of the number one song on the Jazz Standards charts, “Body and Soul.” Performed by singers from Gertrude Lawrence to Tony Bennet & Amy Winehouse, “Body and Soul” has remained as the most recorded jazz song for over 50 years. Linda will be accompanied by Greensill on piano, Tom Shader on bass, Alan Hall on drums, and Jeremy Cohen on violin.

Linda Kosut, Backstage Magazine’s Bistro/BMI award winner, has been performing to steady acclaim on the cabaret and jazz scenes of New York and the San Francisco Bay Area for many years. The Los Angeles Times wrote of her Oscar Brown tribute: “She deserved a far longer run….there was versatility in her interpretations … her warm, dark sound and articulate theatrically trained phrasing…an illuminating view into the complex byways of Brown’s imagination.”

A native New Yorker, Kosut has been living in San Francisco for more than twenty years. She is a graduate of CCNY and studied musical theater and cabaret. She has appeared in clubs in New York, Los Angeles and Chicago; and in San Francisco Bay Area jazz & cabaret venues. She has played at the Jazz Bakery in Los Angeles, Davenport’s in Chicago, in San Francisco at the Empire Plush Room, The Purple Onion, the Octavia Lounge, Anna’s Jazz Island, and the Rrazz Room, as well as The Metropolitan Room, The Triad and Don’t Tell Mama in New York.

Now Kosut brings “Easy Come, Easy Go,” her tribute to the great composer Johnny Green, to Feinstein’s. Green was an inspirational and influential composer, Hollywood musical arranger and conductor who died in 1989. He won five Oscars for his soundtracks for movies. “I was so happy to discover Johnny’s music,” says Kosut. “My goal for this project was to bring more attention to his larger body of work. His ballads, and jazz standards like “I Cover the Waterfront” are still sung today and I wanted to introduce his other great songs to new audiences.”

Easy Come, Easy Go

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Isha Love - Jars Of Waters

Size: 148,7 MB
Time: 63:30
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Jars Of Waters (Intro) (0:52)
02. Crucifixion (4:07)
03. Nothing But The Blood (4:20)
04. Rain On Me (4:44)
05. I've Got Peace Like A River (5:02)
06. Draw Me Nearer (5:05)
07. Living Water (5:38)
08. Heaven In Me (5:08)
09. The Road (3:51)
10. Without You Where Would I Be (4:14)
11. Where You Lead Me (3:56)
12. When He Comes (2:57)
13. There Is No Place Like Home (5:07)
14. There Is A Fountain (Bonus Track) (4:58)
15. Jars Of Waters (Bonus Track) (3:25)

When the fingers of Isha Love glide across the piano, a dazzling cascade of melody rushes forth spraying the atmosphere like the mist from a waterfall. Whether she is surfing across the keys, like a boogie board bouncing above the ocean or rafting quietly down the river’s bank, tickling the ivories like a paddle propelling the current, her compositions shower light and shimmer with the presence of love. “Jars of Water,” her debut offering, is a fluid tapestry of 14 luscious piano solos that pour sweet liquid libations for the soul. With ten gospel tinged jazz originals and four unique interpretations of traditional spiritual hymns, Isha Love’s “Jars of Water” is a tall refreshing glass to drink from.

A classically trained pianist, Isha Love emerges on the music scene as a source of “living water.” She embodies the scripture passage from the Book of Ephesians: “Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord.” With “Jars of Water,” Isha hopes to share and spread her ever-abundant love of God. The inspirational solo performances on the CD transcend genres though, riding the waves of jazz, gospel, worship and pop.

Isha reveals that she only composes when she feels led by the Spirit. In fact, each track from “Jars of Water” emerged from a series of compelling visions she believes God used to guide her musical journey. Song titles like “Rain On Me,” “I’ve Got Peace Like A River,” “There is a Fountain,” “Living Water,” and the title track “Jars of Water” reveal her personal plunge to sacred depths.

“One day as I was praying,” Isha reveals, “I saw a large field with hundreds upon hundreds of empty jars. God stood at the beginning of the long line and was holding a pitcher. It contained water and God was pouring the water into the jars. He explained that the many jars represented the songs that I have within me, that are waiting to be filled – and told me that the water that fills the jars are His Spirit. During the vision, God explained that when the jars are filled with Living Water, each becomes a completed song anointed by Him. Each song is one of these ‘jars of water.”

Jars Of Waters

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Renée Fleming - Christmas In New York

Size: 148,0 MB
Time: 63:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals, Holiday
Art: Front

01. Winter Wonderland (With Wynton Marsalis) (3:49)
02. Have Yourself A Merry Little Christmas (With Gregory Porter) (3:32)
03. Silver Bells (With Kelli O'Hara ) (3:03)
04. Merry Christmas, Darling (With Chris Botti) (5:36)
05. The Christmas Waltz (3:15)
06. Who Knows Where The Time Goes (With Brad Mehldau) (4:23)
07. Sleigh Ride (With Wynton Marsalis) (5:14)
08. Snowbound (With Kurt Elling) (6:24)
09. In The Bleak Midwinter (With Rufus Wainwright) (3:42)
10. Central Park Serenade (With Gregory Porter) (4:12)
11. The Man With The Bag (2:36)
12. Love And Hard Times (With Brad Mehldau) (4:43)
13. Still, Still, Still (With Kurt Elling) (5:14)
14. New York Tendaberry (With Yo-Yo Ma) (7:18)

American soprano Renee Fleming's first-ever holiday album celebrates the beloved and iconic Christmas season in New York City. From the holiday windows lining 5th Avenue to the red and green-lit spire of the Empire State Building, the essence of the city at the most wonderful time of year is captured on Christmas in New York. Pop, Broadway and jazz greats Chris Botti, Kurt Elling, Wynton Marsalis, Brad Mehldau, Kelli O Hara, Gregory Porter and Rufus Wainwright join Renée as she lends her sublime voice to hits like "Have Yourself a Merry Little Christmas," "Silver Bells" and other gems, including "Central Park Serenade" a brand new duet by songwriting legend Diane Warren. In total, Renee Fleming and her guests have won 16 Grammy awards across multiple categories.

Renee Fleming's lush vocals, elegant persona, and intimate delivery of holiday classics make this album the perfect soundtrack for holiday parties, and a gift that will delight anyone who loves music.

An exclusive recording artist with Decca since 1995, Renee Fleming is known around the globe as a classical singer with a voice as warm and rich as a fine single malt, (The Times, London), and a career that has ranged from the stages of world's greatest opera houses to concerts and recordings of jazz, the American songbook, movie soundtracks and indie rock. In February 2014, Renee Fleming became the first classical singer in history to perform the National Anthem at the Super Bowl, which was enjoyed by more than 111.5 million viewers in the US.

Christmas In New York

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Benny Green - Too Marvelous For Words: A Tribute To Johnny Mercer

Bitrate: 320K/s
Time: 59:20
Size: 135.8 MB
Styles: Easy Listening, Standards
Year: 1997
Art: Front

[3:04] 1. Too Marvelous For Words
[2:55] 2. Strip Polka
[2:25] 3. When A Woman Loves A Man
[3:00] 4. Something Tells Me
[2:22] 5. Swing Is The Thing
[2:39] 6. Jeepers Creepers
[3:04] 7. Arthur Murray Taught Me Dancing In A Hurry
[2:42] 8. Mister Meadowlark
[3:09] 9. I'll Dream Tonight
[2:36] 10. Tangerine
[3:04] 11. Fools Rush In
[3:02] 12. Say It With A Kiss
[3:01] 13. That Old Black Magic
[2:59] 14. If I Had A Million Dollars
[3:07] 15. Blues In The Night
[2:30] 16. On Behalf Of The Visiting Firemen
[2:48] 17. I'm Old Fashioned
[2:40] 18. I Thought About You
[2:37] 19. Dearly Beloved
[2:34] 20. Goody Goody
[2:53] 21. I'd Know You Anywhere

Although not yet an innovator himself, Benny Green has managed to combine the styles of Bobby Timmons, Wynton Kelly, Gene Harris, and especially Oscar Peterson in his playing; his fast octave runs are often wondrous. He grew up in Berkeley and played as a teenager with Joe Henderson and Woody Shaw. After moving to New York, he spent important periods with Betty Carter (1983-1987) and Art Blakey's Jazz Messengers (1987-1989), becoming quite well-known during the latter association. In addition to working with Freddie Hubbard, Green popped up in many bop-oriented settings for a few years before joining Ray Brown's Trio in 1992. At the same time, he has worked with his own trio, which originally included Christian McBride and Carl Allen. When Oscar Peterson was asked in 1992 to name his protégé for a concert, Green was his choice. Benny Green has recorded for Criss Cross and Blue Note in addition to his work with Ray Brown on Telarc and his earlier Blakey dates. ~bio by Scott Yanow

Too Marvelous For Words: A Tribute To Johnny Mercer

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Nora Germain - Little Dipper

Bitrate: 320K/s
Time: 36:20
Size: 83.2 MB
Styles: Violin jazz, Vocal jazz
Year: 2014
Art: Front

[3:28] 1. Swing Is Fun
[2:25] 2. How About You
[6:27] 3. Someone To Watch Over Me
[6:22] 4. How About You (Instrumental)
[2:51] 5. Little Girl Blue
[2:56] 6. Salty Dogs
[1:47] 7. Violin Is Now
[5:01] 8. A Flower Is A Lovesome Thing
[3:29] 9. Thou Swell
[1:29] 10. Tommy

Jazz fiddlers are not exactly household renowned. Joe Venuti, Ray Nance, Stephane Grappelli, Michal Urbaniak, Svend Asmussen, Jean-Luc Ponty and Regina Carter pop to the forefront, but then the list falls off quickly. Presently there emerges one Nora Germain (a name made to be in lights if there ever was one) who not only fiddles but also sings. She might be considered a more mainstream jazz Natalie Cressman, a singer/composer who doubles on trombone. Her voice is all jaunty NYC (perhaps due to time she spent at the New School) despite her originating on the Left Coast.

For her recording Little Dipper, Germain opts for a sturdy piano trio rhythm section led by pianist Ed Kornhauser. Germain's arrangements are straight-ahead mainstream right out of the chute with the original "Swing is Fun," based on the sacred "I Got Rhythm" changes. Her tone and articulation are a beautiful throwback to when tone and articulation were valued along with improvisatory aplomb. Germain is superb on ballads: "Someone to Watch Over Me" shimmers from the beginning obbligato to the falling water coda.

Germain provides two performances of "How About You:" one vocal and one instrumental. They sit well in the programming. She sings again on a strutting "Salty Dogs," the song propelled by bassist Will Pierce and gingerly accented by drummer Ryan Shaw. By the time the brief piece reaches a breakneck 4/4, the temperature has risen markedly. Germain adds another original, "Violin is Now" to "A Flower is a Lovesome Thing" and "Thou Swell." Her big surprise is the hoedown "Tommy," demonstrating that she is not only a prim jazz flower but also a rough-and-tumble country girl. A fine recording by a fine musician. ~C. Michael Bailey

Nora Germain: violin, vocals; Ed Kornhauser: piano; Will Pierce: bass; Ryan Shaw: drums.

Little Dipper

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Anita O'Day - Anita Meets The Rhythm Sections

Bitrate: 320K/s
Time: 72:39
Size: 166.3 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[2:31] 1. No Soap, No Hope Blues
[2:33] 2. Speak Low
[2:37] 3. The Lady Is a Tramp
[3:05] 4. Strawberry Moon
[2:30] 5. Sing Sing Sing
[2:38] 6. Just One of Those Things
[4:10] 7. The Man I Love
[3:34] 8. Frankie and Johnny
[3:23] 9. Anita's Blues
[3:43] 10. I Cover the Waterfront
[3:40] 11. I Didn't Know What Time It Was
[2:23] 12. Let's Fall in Love
[2:42] 13. You're Getting to Be a Habit with Me
[3:09] 14. From This Moment On
[2:53] 15. You Don't Know What Love Is
[3:12] 16. Medley: There Will Never Be Another You/Just Friends
[3:12] 17. Who Cares
[2:24] 18. Fine and Dandy
[3:37] 19. As Long as I Live
[2:36] 20. Beautiful Love
[2:31] 21. Don't Be That Way
[3:14] 22. Let's Face the Music and Dance
[3:03] 23. Pick Yourself Up
[3:06] 24. I Used to Be Color Blind

Anita locks horns with Barney Kessel, Jimmy Rowles, Tal Farlow and other aces on these 1952-56 sessions.

Few vocalists merited the compliment of singer's singer as thoroughly as Anita O Day. This is Miss O Day at her best. On these sides she sings accompanied by some of the finest rhythm sections, with her hotly wailing beat and an intensely personal, jazz-driven phrasing that is an exciting delight. Above all, there is the warm, husky O Day sound, a happiness, a sensual zest in the pleasures of blowing with the voice, that combine into one of the most infectious delights of jazz listening. She is just as convincing on ballads as on up-tempos, proving to be one of the greatest jazz singers of all times. These recordings are gems of jazz singing.

Anita Meets The Rhythm Sections

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John Swana - Bright Moments

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 72:05
Size: 165,5 MB
Art: Front

(4:42)  1. Wilbert
(6:21)  2. Chillin' Out
(6:45)  3. Road Trippin'
(7:44)  4. Ferris Wheel
(5:24)  5. Shrack's Corner II
(8:10)  6. Bright Moments
(8:06)  7. Inevitable Encounter
(6:47)  8. Everything I Have Is Yours
(7:04)  9. KD
(6:27) 10. Open Highway
(4:31) 11. Shrack's Corner I

Trumpeter John Swana's Philadelphia hard bop roots are clearly evident on this set of originals that takes definite cues from the distinctive sound of Art Blakey's Jazz Messengers in bygone days. The title is not a reference to Rahsaan Roland Kirk's classic album, but a concept suggested to the leader by organist Trudy Pitts. With a solid, burnished, and clear tone, Swana and his sextet featuring twin tenor saxes in Eric Alexander and Grant Stewart swing strongly through original mainstream jazz that is lyrically tuneful and harmonically rich. Where tracks like "Wilbert" (for ex-Philadelphia Eagles NFL running back Wilbert Montgomery) and "Road Trippin'" reflect that fleet-foot hard bop image, others tend to be effortlessly bluesy or soulful. This simple but direct approach is a rarity in contrast with modern mainstream, complex jazz, but Swana is not so much looking back as he is keeping the straight-ahead home fires burning. ~ Michael G.Nastos  http://www.allmusic.com/album/bright-moments-mw0000752017

Personnel: John Swana (trumpet, flugelhorn); Eric Alexander, Grant Stewart (tenor saxophone); David Hazeltine (piano); Peter Washington (bass instrument); Kenny Washington (drums).

Bright Moments

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Latin Giants Of Jazz - The Latin Giants Play The Music Of The Palladium Tito Lives

Styles: Latin, Big Band
Year: 2002
File: MP3@320K/s
Time: 51:00
Size: 117,3 MB
Art: Front

(7:11)  1. Bobby & Mario
(5:05)  2. Medo Al Cha Cha Cha
(4:00)  3. Llora Timbero
(2:43)  4. Fue En Santiago
(6:38)  5. La Orquesta
(3:05)  6. Frenzy
(3:32)  7. Lagrimas Negras
(4:55)  8. Blen Blen Medley
(3:58)  9. Tenderly
(5:05) 10. Congo Mulence
(4:43) 11. A Sunny Ray

The Latin Giants of Jazz is one of the most exciting, colorful and authentic orchestras currently on the music scene. It is no surprise that blazing trumpets, swinging saxophones, blaring trombones, melodic vocals and an exciting percussion section comes from the alumni of Tito Puente's orchestra. Led by long time Puente band members John Rodriguez, Jose Madera and CEO Stew Jackson, The Latin Giants of Jazz offer the best of Afro-Cuban and Latin American music. Having toured the world with the late & great Tito Puente for 35 years, these all-star musicians have unparalleled history and experience. Currently having three CD’s released: “The Latin Giants Play the Music of the Palladium…Tito Lives”, “Trip to Mamboland” and "Ven Baila Conmigo". All three recordings underscore why these musicians are recognized as some of the best in their field. They bring swinging perfection to stage with their tremendous sound that lures you from your seat to the dance floor.  http://www.cdbaby.com/cd/latingiantsofjazz

The Latin Giants Play The Music Of The Palladium Tito Lives

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Esther Phillips - Performance

Styles: Vocal, Jazz Pop
Year: 1974
File: MP3@320K/s
Time: 35:32
Size: 83,3 MB
Art: Front

(8:27)  1. I Feel The Same
(5:28)  2. Performance
(3:36)  3. Doing Our Thing
(5:21)  4. Disposable Society
(5:19)  5. Living Alone
(3:24)  6. Such A Night
(3:54)  7. Can't Trust Your Neighbor With Your Baby

The decades-long battle with drug addiction, which ultimately led to her untimely demise, contributed to vocalist Esther Phillips' status as a tragic second-tier figure in the larger annals of popular music history, but her music itself was often a triumph of soul-stirring ecstasy. By the time Phillips arrived at CTI's sister label, Kudu Records, her early career hits made under the name "Little Esther" were a distant memory. A string of albums for Atlantic Records in the late '60s helped bring her back into the spotlight, but she truly found her home under the auspices of the venerable Creed Taylor. Her first album on Kudu, From A Whisper To A Scream (1972), contained a semi-autobiographical performance of Gil Scott-Heron's "Home Is Where The Hatred Is," which earned Phillips her second of four Grammy nominations and the respect of her peers, but it also signaled the start of her most prolific period of recording. While at Kudu, the singer recorded eight albums, cementing her reputation as a vocalist par excellence and establishing her as the Kudu queen of blues, soul and R&B. Any one of Phillips' albums would have been a nice addition to CTI Masterworks' fortieth anniversary feast, but the powers-that-be decided to honor her by reissuing her fourth album on the label 1974's underrated Performance. 

While the personnel list presents an imposing roster of jazz heavyweights, the jazz influences themselves are suppressed in favor of a soul-heavy sound. Notable solos still find their way into the mix, including tenor saxophonist Michael Brecker's extended run on "Disposable Society" and guitarist Jon Sholle's solo spot on "I Feel The Same," but they're rare. Instead, the music is used as it should: to showcase Phillips' voice. Phillips knew how to establish herself when placed in a funky musical environment, whether gritty and urban ("Disposable Society") or friendlier and fun ("Doing Our Thing"), but goes beyond this area on tracks like "Performance," an R&B number with a gospel feel that's augmented by some countrified steel guitar from Eric Weissberg, and "Such A Night," which features some tack piano work from Richard Tee. While the CTI Masterworks reissue campaign is largely a celebration of albums that have always been celebrated, the final wave along with Performance, including efforts from saxophonist Hank Crawford, and organists Lonnie Smith and Johnny Hammond is all about admiring the wrongfully overlooked and giving kudos to Kudu. ~ Dan Bilawsky  http://www.allaboutjazz.com/performance-esther-phillips-cti-masterworks-review-by-dan-bilawsky.php#.VDrnYxawTP8

Personnel: Esther Phillips: vocal; Jerry Dodgion: alto saxophone; Mike Brecker: tenor saxophone; Pepper Adams: baritone saxophone; Jon Faddis: trumpet, flugelhorn; John Gatchell: trumpet, flugelhorn; Marvin Stamm: trumpet, flugelhorn; Urbie Green: trombone; Hubert Laws: flute; Bob James: electric piano (4), piano (5); Richard Tee: piano (3, 7), organ (5), tack piano (6); Richard Wyands: piano; Charlie Brown: guitar; Richie Resnicoff: guitar (4, 5); Jon Sholle: guitar (1, 7); Eric Weissberg: steel guitar (2); Gary King: bass; Gordon Edwards: bass (3); Bernard Purdie: drums; Steve Gadd: drums (4, 5); Ralph McDonald: percussion; Pee Wee Ellis: chimes; Patti Austin: background vocals (2, 6); Lani Groves: background vocals (2, 6); J. Denise Williams: background vocals (2, 6); Carl Caldwell: background vocals (3, 5); Robin Clark: background vocals (3, 5); Tasha Thomas: background vocals (3, 5); Max Ellen: violin; Paul Gershman: violin; Emmanuel Green: violin; Charles Libove: violin; Harry Lookofsky: violin; David Nadien: violin; Matthew Raimondi: violin; Manny Vardi: violin, viola; Al Brown: viola; Harold Coletta: viola; Charles McCracken: cello; George Ricci: cello.

Performance

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Michael Franks - Barefoot on the Beach

Styles: Vocal, Jazz Pop
Year: 1999
File: MP3@320K/s
Time: 62:33
Size: 155,3 MB
Art: Front + Back

(5:04)  1. Barefoot On The Beach
(4:48)  2. Heart Like An Open Book
(6:13)  3. Now Love Has No End
(5:52)  4. The Fountain of Youth
(5:04)  5. When You Smiled At Me
(6:12)  6. Double Talk
(7:24)  7. Every Time She Whispers
(4:27)  8. Why Spring Ain't Here
(6:21)  9. A Walk In The Rain
(4:40) 10. Mr. Smooth
(6:23) 11. Like Moon Behind A Cloud

Countless musical trends have steamrolled by since this wry singer songwriter with the cool and collected, wistful onionskin voice first graced the adult music world in the mid-'70s with The Art of Tea and its cryptic hit, "Popsicle Toes." Yet Franks has stood his ground, growing as an observational lyricist while his relaxed demeanor stays pretty much the same, and charmingly so. While varying his backing instrumental tracks to fall somewhere between classic, subtle brassy Steely Dan ("The Fountain of Youth" features Yellowjacket saxman Bob Mintzer kicking it up with trumpeter Larry Lunetta) and colorful smooth jazz vibes (Bob James, Dave Samuels, and Chuck Loeb crackle behind the bemused frustration story "Double Talk"), the joy of his writing approach is found in his song structure. Franks just doesn't buy into the Top 40 school of "hook or forget it" songwriting. He's more interested in weaving quirky, even esoteric images over solid grooves. "You could jump a DC-8 and probably be here by eight" sets the tone for the frolic of the title track. Everything is fair game from references to Ingrid Bergman and Rhett Butler looks on "Heart Like an Open Book" to congratulating Ponce De Leon for the youthful drive of his lover on "The Fountain of Youth." He's quite the humorist, too, telling a cheating mate on "Double Talk" that "each time you lie your profile grows/it looks just like Pinocchio's." "Mr. Smooth" is a crisp commentary on a stuck-up man who thinks he's a god somehow. So that even when Franks is expressing displeasure, his heart is light. He covers all the aspects of love from the supreme joy of "Now Love Has No End" to "Why Spring Ain't here" but the minute he starts to boil over, he's back to the beach, having a blast. It's the kind of spring in your step music Franks fashioned his career out of.~ Jonathan Widran  http://www.allmusic.com/album/barefoot-on-the-beach-mw0000239499

Personnel: Michael Franks, vocals; Jay Azzolina, guitar; Jim Beard, string synth; Charles Blenzig, keyboards and drum/percussion programming; Michael Brecker, sax; Randy Brecker, trumpet; David Charles, percussion; Brian Dunne, drums; Steve Gadd, drums; Wolfgang Haffner, cymbals; Jimmy Haslip, bass and keyboards; Chris Hunter, alto sax and flute; Jim Hynes, flugelhorn; Bob James, keyboards; Bashiri Johnson, percussion; Birch Johnson, trombone; Steve Khan, guitar; Will Lee, bass and background vocals; Chuck Loeb, guitar; Larry Lunetta, trumpet; David Mann, flute; Bob Mintzer, saxophone; Jeff Mironov, guitar; Chris Palmaro, keyboards; John Patitucci, bass; Shawn Pelton, drums; Mike Ricchiuti, keyboards; Dave Samuels, vibraphone; Valerie Simpson, vocal (duet on "Now Love Has No End"); Andy Snitzer, saxophone; Tawatha Agee, Carmen Cuesta, Lani Groves, backgroung vocals.

Barefoot on the Beach

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