Jill Barber - Fool's Gold

Bitrate: 320K/s

Time: 31:26

Size: 72.0 MB

Styles: Easy Listening, Country/jazz vocals

Year: 2014

Art: Front

[3:04] 1. Broken For Good

[4:01] 2. The Least That She Deserves

[3:13] 3. Let's Call It Love

[3:40] 4. The Careless One

[2:49] 5. If Only In My Mind

[3:41] 6. To The Last

[3:10] 7. Lucky In Love

[2:33] 8. Darlin' It Was You

[2:39] 9. Only You

[2:32] 10. If You're Going To Break My Heart

Jill's distinct, evocative voice soars over songs inspired by doo-wop rhythms and country ballads, evoking feelings of a bygone era: “I can’t help but feel nostalgic for other eras of music. When I listen to Etta James, or Ray Charles or Carole King, I feel almost intoxicated. It stirs something in me. When I write my own music, my greatest hope is that it ends up becoming the perfect soundtrack to some great romance, or at the very least a great cocktail party.”

Jill's songs have always set a romantic mood, and on Fool's Gold, the romance is still very much alive, but she also introduces a new sexy Motown-inspired sound on the lead single “Broken for Good.” “What I love about Motown is that it knows exactly how to deliver a message: with a strong backbeat, punctuated by horns, a driving bass line and an immediate pop appeal. It will ultimately get inside your soul but first it'll just make you want to move your body.”

Fool's Gold

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Howard McGhee - Maggie's Back In Town

Bitrate: 320K/s

Time: 42:36

Size: 97.5 MB

Styles: Bop, Trumpet jazz

Year: 1961/2011

Art: Front

[ 7:49] 1. Demon Chase

[ 4:22] 2. Willow Weep For Me

[ 3:14] 3. Softly, As In A Morning Sunrise

[ 5:13] 4. Sunset Eyes

[10:39] 5. Maggie's Back In Town

[ 3:12] 6. Summertime

[ 8:03] 7. Brownie Speaks

Trumpeter Howard McGhee, after spending much of the 1950s only partly active in music (due to drug problems), made a full-fledged comeback in the early '60s only to find his bop-oriented music out of fashion. This Contemporary set (reissued on CD in the OJC series) was McGhee's finest recording of the period, a quartet outing with brilliant pianist Phineas Newborn, bassist Leroy Vinnegar, and drummer Shelly Manne. Although tenor saxophonist Teddy Edwards is not on the date, two of his compositions (his famous "Sunset Eyes" and a tribute to the trumpeter, "Maggie's Back in Town") are fully explored by the quartet. Other titles include three standards plus McGhee's original blues "Demon Chase." This CD is a perfect starting point for listeners not familiar with the underrated (and often overlooked) Howard McGhee. ~Scott Yanow

Maggie's Back In Town

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Jeff Berlin - Aneurythms

Bitrate: 320K/s
Time: 65:28
Size: 149.9 MB
Styles: Fusion, Progressive rock
Year: 2006
Art: Front

[6:20] 1. Porky & Beans
[6:34] 2. Copland
[7:52] 3. Saab Story
[5:38] 4. Ars Longa Vita Brevis
[7:07] 5. Miss Management
[7:12] 6. Justibofidus
[6:10] 7. A Mark You Remade
[7:00] 8. Lapp Dance
[6:47] 9. Don't Be Happy! Worry!
[4:43] 10. Auntie Social

He's only released a handful of albums under his own name over the past thirty years, but bassist Jeff Berlin remains a singularly distinctive electric bassist. That he's chosen to spend as much time as an educator at the self-started Players School of Music in Florida as he has performing and recording just means that he's as big a believer in nurturing others as he is in self-promotion. Still, with chops to burn, an instantly recognizable tone and encyclopedic musical knowledge, it's a mystery why he's not better known outside fusion and progressive rock circles.

Aneurythms could be considered a fusion record, but that would be selling it short. Not that there's anything wrong with fusion, but Berlin demonstrates a much broader reach. The record has no shortage of virtuoso playing from Berlin, but it's a more democratic effort than Lumpy Jazz (M.A.J., 2004), where the bassist was almost always front and center. Here pianist Richard Drexler (back from Lumpy Jazz), keyboardist Otmaro Ruiz and guitarist Gannin Arnold get plenty of space, while producer Brian Bromberg occasionally anchors the proceedings on acoustic bass, leaving Berlin free to play a more dominant role.

The music ranges from the up-tempo funk of "Porky & Beans" which, with its lengthy and idiosyncratic head, could easily have fit into the Bruford repertoire of the mid-to-late 1970s, to the more lyrical and Midwestern vibe of "Copland." "Ars Longa Vita Brevis" is a piece of modernized classical counterpoint, while "Miss Management" mines Latin territory and demonstrates Berlin's comfort at navigating more jazz-centric changes. Berlin's dense but appealing tone works throughout, whether it's up front or holding down the groove with drummer Vinnie Colaiuta. "Justibofidus" is a fiery fusion burner that features Arnold—a guitarist whose general association with smooth jazz artists belies an unexpected energy and facility. His solos reference Scott Henderson but he's no mere clone. Given that anyone familiar with Berlin will not be surprised by the bassist's fine work here, Arnold is the real surprise of Aneurythms—a guitarist from whom more, we can hope, will be heard. "A Mark You Remade" references the famous Weather Report tune "A Remark You Made" and bassist Jaco Pastorius' innate melodism, but it's tribute, not imitation. "Don't Be Happy! Worry!" manages to swing and be funky at the same time, and is another showcase for Berlin's remarkable ability to wind his way through more complicated constructs.

Lumpy Jazz was an album that you had to love bass to enjoy. While there's no shortage of bottom end dominance on Aneurythms, its greater equity means it will appeal to a broader audience—and not just fusion fans. Berlin is a player/writer who comfortably straddles the line between more raucously energetic and gentler, more elegant music that, with a wider frame of reference, proves you can please all of the people all of the time. ~John Kelman

Jeff Berlin: electric bass; Richard Drexler: piano; Otmaro Ruiz: synthesizers, piano solo; Gannin Arnold: guitars; Brian Bromberg: acoustic bass; Vinnie Colaiuta: drums.

Aneurythms

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Lisa Maxwell - Return to Jazz Standards

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 37:37
Size: 86,3 MB
Art: Front

(1:55)  1. You'd Be So Nice To Come Home To
(4:50)  2. Meditation
(3:10)  3. Lazy Afternoon
(3:06)  4. I Hadn't Anyone Till You
(2:50)  5. Love Dance
(3:48)  6. Call Me
(3:26)  7. The Shadow of Your Smile
(5:18)  8. Isn't it a Pity
(3:29)  9. What are You Doing New Years Eve?
(2:19) 10. My Romance
(3:22) 11. Moonlight Savings Time

Expect to hear a perpetually youthful, crystal clean sound combined with a relaxed sexy style in this beautiful array of American standards. You will not tire listening to any of these songs delivered with simple, bare naked honesty. More...http://www.cdbaby.com/cd/lisamaxwell11

Return to Jazz Standards

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Judy Niemack With Cedar Walton Trio - Blue Pop

Styles: Vocal Jazz
Year: 1988
File: MP3@256K/s
Time: 64:04
Size: 118,0 MB
Art: Front

(5:26)  1. Bolivia
(5:38)  2. Gentle Rain
(4:31)  3. Gee Baby
(3:48)  4. Softly As In A Morning Sunrise
(2:59)  5. Dizzy Atmosphere
(4:26)  6. Parker's Mood
(3:50)  7. Wheelers And Dealers
(5:06)  8. Born To Be Blue
(2:52)  9. Love For Sale
(5:51) 10. Moanin'
(4:43) 11. Lover Man
(6:08) 12. Angel Eyes
(3:02) 13. The More I See You
(5:37) 14. You Are My Thrill

One does not usually encounter such songs as Cedar Walton's "Bolivia," "Dizzy Atmosphere" and "Moanin'" on vocal albums, but Judy Niemack has always been a very instrumental-oriented jazz singer. Whether scatting, stretching out words, or singing unexpected notes, Niemack (who should be much better-known) is consistently brilliant on this CD from the French Freelance label. She is assisted by Walton, bassist Ray Drummond, drummer Joey Baron and (on three of the 14 numbers) trombonist Curtis Fuller throughout the consistently swinging and often adventurous set. Recommended. ~ Scott Yanow  http://www.allmusic.com/album/blue-bop-mw0000367856

Blue Pop

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Davina & The Vagabonds - Live @ The Times

Styles: New Orleans Jazz
Year: 2008
File: MP3@320K/s
Time: 80:17
Size: 184,5 MB
Art: Front

(0:43)  1. Intro
(3:25)  2. Knock Me a Kiss
(2:44)  3. Pushpin
(2:29)  4. Muddy Water
(4:51)  5. Death
(3:01)  6. This Little Light of Mine
(2:48)  7. Daydream
(3:11)  8. Big Fish
(4:08)  9. Monday Date
(2:39) 10. The Clock
(3:28) 11. Watching the River Flow
(4:50) 12. St Michael vs the Devil
(4:46) 13. Love
(2:11) 14. Hate
(2:34) 15. No Buts, No Maybes
(5:19) 16. Dream A Little Dream Of Me
(3:13) 17. Put A Lid On It
(3:04) 18. I'm Gonna Be A Wheel Someday
(4:12) 19. Honey Pie
(7:14) 20. St. James Infirmary
(3:00) 21. Back To Memphis
(3:22) 22. Under Lock And Key
(0:26) 23. Mpls In February
(2:29) 24. Finally Home

Davina and The Vagabonds are known in The Twin Cities, Minnesota as being the busiest band in town because of their hard-working professionalism, high energy stage performance, and original sound.

DATV average over 300 performance dates a year, trying to share their music with the world.

Awards : "Road To Memphis MN" 2009, King of Beale Street 2009, and International Songwriting Competition Finalist 2010.

Shared the stage with : Pinetop Perkins, Aaron Neville, Gary Moore, 10 Years After, The Mannish Boys, Robert Cray, Los Lonely Boys, Scottie "Bones" Miller, Willie "Big Eyes" Smith,Ana Popovic, Booker T and The MGs, Bobby Rush, Irma Thomas, James Hunter, Bobbie Blue Bland, Willie Big Eyes Smith, and many others. Davina and The Vagabonds are proud to have just signed with Award Winning Talent Agency, Piedmont Talent.  More...http://www.davinaandthevagabonds.com/meetdatv.html

"Hardest -working Blues woman in Minnesota, but......two things remain consistent at all her shows, though: her throaty but cushiony voice, which has a sort of hard-mattress comfort to it that's part Bonnie Raitt, Etta James and a little Amy Winehouse, and her band's rollicking New Orleans flavor, driven home by dueling horn players and a bayou-thick standup bass”
-Chris Rimenschneider, Star Tribune 2010

"At first listen to Davina and the Vagabonds, you imagine the tones escaping from a 300-pound blues musician. It seems unlikely that much power is coming from the slight frame of one Ms. Davina. It sounds like an unnatural force, pulled from some secret spot in the belly no other singer has yet discovered. It's a low bellow, most closely aligned with Amy Winehouse's walloping alto. But Davina takes "retro" back further than Winehouse and her Phil Spector reminiscing. She beckons an age when bad girls wore red lipstick and pin curls. Her music may be adorned with exceptional groaning trumpets, rat-a-tatting drum rolls, and staccato piano lines, but nothing deserves the complementing position to her voice. She’s in a league of her own." ~ Erin Roof, City Pages 2009

"Davina and The Vagabonds are based out of the Twin Cities and play hot jazz-blues-cabaret-soul-lounge-rock that warms the soul an just plain makes ya wanna dance." ~ John Hammer,Blue Monday

"When I listen to her sing all I can say is “Fun, fun, fun” ~ Diana Skope, Skope Entertainment 2010

"..this girl is something special and her band is top notch..she just simply sits down at the piano and totally takes over the room." ~ Fizz Kizer,The Honkytonk Cafe 2011

Live @ The Times

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Ron Levy's Wild Kingdom - After Midnight Grooves

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 54:58
Size: 126,2 MB
Art: Front

( 8:37)  1. After Midnight Groove
( 7:40)  2. Groovin' Wichu
( 7:55)  3. Just The Way It Went
( 5:55)  4. Like Back In The Day
( 6:12)  5. Slinky
( 8:09)  6. Keepin' Up The Love
(10:28)  7. Back At The Levshack

As the name promises, After Midnight Grooves brings the listener to the slinky, mysterious side of night those wee hours turning to dawn, when people shuffle their way home to an empty apartment. Groovin’ Wichu picks up tempo as Levy shows out on the B-3 with a funky groove, accompanied by an upbeat percussion and Melvin Sparks getting some good licks on guitar. Karl Denson’s smooth sax takes Just The Way It Went, into a sexy realm as he squeezes those peak notes to the max. Ron Levy provides an extra dimension on strings and vibes. Another taste of funky soul beat. Sparks does some fancy fretting, providing a spirited run across the strings. 

Jeff Lockhart takes over on guitar during Like Back In The Day and Keepin’ Up the Love, while Levy plays all the right notes on his B-3, extending himself to the inth. Hot piano rolls backed with vibes and a smooth drum beat, interspersed with a rockin’ organ, make Slinky a cool, funky tune. Getting’ down, having a real good time is what Slinky is all about. Back At The Levshackleads with Adrome ‘Acidman’ Machine blowing a soft, clean trumpet until Levy steps in with a smooth keyboard, doing a few riffs before he gets down on piano. From there, Levshack keeps it on the down-low, fine tuned and oh, so groovy with an extended play, keeping the mood flowing. http://www.jazzreview.com/cd-reviews/soul-/-funk-jazz-cd-reviews/after-midnight-grooves-by-ron-levy-s-wild-kingdom.html

Personnel: Ron Levy - composer, producer, organ, piano, electric pianos, vibes, strings, basses, clavinet, arranging & programming;  Melvin Sparks - guitar on Groovin, After Midnight, & Just The Way;  Karl Denson - alto, tenor sax & flute;  Jeff Lockhart - guitar on Like Back In The Day & Keepin’ Up The Love;  Russ Lawton - percussion, drums, tambourine;  Yahuba Garcia - congas, timbales Adrome ‘Acidman’;  MacHine - drums, percussion & trumpet;  Arkady Beletsky – cello;  Special guest - ‘Sax’ Gordon Beadle - baritone sax on After Midnight.

After Midnight Grooves

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Joe Carter - Both Sides Of The Equator

Bitrate: 320K/s

Time: 54:08

Size: 123.9 MB

Styles: Brazilian jazz, Jazz guitar

Year: 2012

Art: Front

[4:46] 1. Nos E O Mar (Feat. David Finck & Ze Mauricio)

[4:42] 2. I've Never Been In Love Before (Feat. David Finck)

[4:01] 3. Mojave

[5:27] 4. Viktor With A K (Feat. David Finck & Ze Mauricio)

[4:14] 5. Blame It On My Youth (Feat. David Finck)

[3:44] 6. Ponta De Areia (Feat. Ze Mauricio & David Finck)

[2:54] 7. Valse De Euridice (Feat. Ze Mauricio)

[4:16] 8. Batida Diferente (Feat. Ze Mauricio & David Finck)

[2:38] 9. Young And Foolish

[5:12] 10. Tema Do Boneco De Palha (Feat. Ze Mauricio & David Finck)

[3:47] 11. Waltz For Debby

[5:58] 12. Nada Como Ter Amor (Feat. Ze Mauricio & David Finck)

[2:22] 13. Variations On A Theme By Bill Evans

Both Sides of the Equator is not Joe Carter's first incursion into Brazilian music. Joe fell in love with Brazilian music after performing in Brazil several times as well as teaching there. His subtle, warm and stylish guitar playing is very well suited for a variety of Brazilian genres he performs, including Samba, Bossa Nova and even Baião. A graduate of New York University, Joe also studied with guitarists Sal Salvador, John Scofield and Allan Hanlon as well as saxophonist Lee Konitz and pianist Don Friedman. This well-rounded musical education formed the basis of his tailor-made style in Brazilian music. Joe is well respected as a Brazilian performer on both sides of the Equator. He has recorded with harmonica player Mauricio Einhorn, bassist Nilson Matta (of Trio da Paz and Brazilian Trio), saxophonist Lee Konitz, flugelhornist Art Farmer and dozen of other jazz musicians. As with his three previous Brazilian albums  Um Abraço no Rio (1996), The Samba Rio Trio (1997) and Two for Two (2001), all on Empathy Records Joe never overdoes his performances and arrangements. He prefers the effective intimacy of duo, trio and quartet formations for Brazilian music. Here in Both Sides of the Equator Joe is joined by bassist David Finck and percussionist Zé Maurício in a balanced collection of music by Brazilian and North American composers. He also adds to this fine mixture two of his own compositions. Several things in Both Sides of the Equator make the album thoroughly enjoyable. With Joe's masterful approach to these melodies, the album flows smoothly from track to track and maintains the listener absorbed in this fine material. One remarkable characteristic of a good musician who knows well the music being performed is the ability to transcend geographical borders seamlessly. Joe accomplishes that very well when he goes from Menescal to Loesser in the first two tracks of the album as well as in the rest of the album.

Joe Carter - acoustic nylon string guitar; David Finck – acoustic bass; Ze Mauricio – percussion.

Both Sides Of The Equator

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Chaka Khan - One Classic Night: Greatest Hits Live!

Bitrate: 320K/s
Time: 70:43
Size: 161.9 MB
Styles: R&B, Funk, Rock
Year: 2008
Art: Front

[ 3:43] 1. I Feel For You
[ 5:19] 2. Ain’t Nobody
[ 4:48] 3. Everlasting Love
[ 4:17] 4. Hollywood
[ 4:27] 5. Pack My Bags
[ 4:22] 6. My Funny Valentine
[ 8:45] 7. Through The Fire
[ 3:17] 8. Once You Get Started
[ 2:14] 9. Stay
[ 4:54] 10. You Got The Love
[ 2:39] 11. Tell Me Something Good
[16:50] 12. Sweet Thing
[ 5:03] 13. I’m Every Woman

Chaka Khan (born Yvette Marie Stevens; 23 March 1953 - Chicago, Illinois, USA), frequently known as the “Queen of Funk”, is a 10-time Grammy Award winning American singer-songwriter who gained fame in the 1970s as the frontwoman and focal point of the funk band Rufus.

In 1964 at the age of 11 she formed her first group, the Crystalettes. While still in high school, she joined the Afro-Arts Theater, a group which toured with Motown great Mary Wells; a few years later, she adopted the African name Chaka Khan while working on the Black Panthers’ breakfast program. After quitting high school in 1969, Khan joined the group Lyfe, soon exiting to join another dance band, the Babysitters; neither was on the fast track to success, but her fortunes changed when she teamed with ex-American Breed member Kevin Murphy and Andre Fisher to form Rufus.

Debuting in 1973 with a self-titled effort on the ABC label, Rufus was among the preeminent funk groups of the decade; distinguished by Khan’s dynamic vocals, the group earned half a dozen gold or platinum albums.

While still a member of the group in 1978, Khan embarked on a successful solo career. Her signature hits, both with Rufus and solo, include “Tell Me Something Good”, “Sweet Thing”, “Ain’t Nobody”, “I’m Every Woman”, “I Feel for You” and “Through the Fire”.

One Classic Night: Greatest Hits Live!

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Frank Rosolino - Turn Me Loose!

Bitrate: 320K/s
Time: 31:31
Size: 72.2 MB
Styles: Bop, Trombone jazz
Year: 1961/2005
Art: Front

[2:14] 1. Too Marvelous For Words
[2:54] 2. Come Rain Or Come Shine
[2:18] 3. Whatcha Gonna Do On Monday
[2:35] 4. Sometimes I'm Happy
[2:20] 5. Sweet Georgia Brown
[2:50] 6. Pennies From Heaven
[3:10] 7. I Cover The Waterfront
[2:38] 8. You're A Sweetheart
[2:17] 9. Please Don't Bug Me
[2:30] 10. It Had To Be You
[2:43] 11. That Old Black Magic
[2:56] 12. How Many Hearts Have You Broken

This 1961 release was intended to explore the humorous side of trombonist Frank Rosolino, relying as much on his vocals as his proven skill as an instrumentalist. Sticking mostly to standards and accompanied by a solid rhythm section consisting of pianist Victor Feldman, bassist Charles C. Berghofer, and drummer Irving Cottler, the leader's skills on trombone are never in doubt, but his prowess as an effective jazz vocalist is another matter. Although liner note writer Herb Heinman simply refers to his singing as "offbeat," his nasal sound and the considerable reverb added to every track grow quickly tiresome, although the cover photo is hilarious. Perhaps latecomers to Rosolino's music will have an even greater time thinking of him in a humorous vein; before shooting himself to death in 1978, he shot both of his young sons, killing one and blinding the other. ~Ken Dryden

Turn Me Loose!

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Melani L. Skybell - Life Is The Song

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 47:01
Size: 108,1 MB
Art: Front

(2:53)  1. You Better Love Me While You May
(4:25)  2. (Love's Got Me)In A Lazy Mood
(3:48)  3. Can't Get Out Of This Mood
(2:52)  4. Sweet Happy Life
(2:33)  5. What Do You See In Her?
(4:12)  6. You Don't Know What Love Is
(3:48)  7. Let Me Love You
(2:14)  8. Wonder Why
(3:39)  9. I'll Be Easy To Find
(3:53) 10. Come By Sunday
(3:33) 11. The Lies Of Handsome Men
(3:38) 12. Everything But You
(2:23) 13. Oh Love, Hast Thou Forsaken Me?
(3:03) 14. You Came A Long Way From St.louis/Goody Goody

While breakthroughability may not be a word, according to Webster, Melani L. Skybell's musical talent certainly should compel the editors of today's New World Dictionary to consider adding it to the book. Her repertoire includes traditional jazz numbers, sultry ballads, swing standards, bossa novas, and pop classics. With a new, unique sound of her own, Ms. Skybell's style stands apart from other entertainers and their treatment of those familiar favorites. Ms. Skybell has been playing piano and singing since she was four years old. Her formal education includes classical piano and vocal performance at Boston University. In 1984, her on-stage experience blossomed when she joined an alternative pop/rock group, Innocent Bystander, frequently backing up headliners. Innocent Bystander was a regular act in Austin's Sixth Street clubs. In order to refine her jazz style, Ms. Skybell entered the highly reputable University of North Texas Jazz Studies Program. It took very little time for her to build a reputation of her own. 

Demand for Ms. Skybell's vocal work grew rapidly among many of the area's jazz orchestras, including a performance at Caravan of Dreams with the University of Texas Jazz Orchestra and several appearances with the Eastfield College Jazz Orchestra. This work enabled Ms. Skybell to assemble a group of the area's most gifted musicians, with whom she now entertains at Dallas' hottest clubs, hotels and restaurants, including, The Four Seasons Resort and Hotel, The Mansion, and Texas Stadium. She is also in demand outside of Dallas, having recently performed at special events in Atlanta and Jamaica. As a soloist, her unique interpretation of classic jazz uplifts her audiences with rich vocal nuances and charm. Whether she is swinging hard on her up tempos, or warming your heart with her intimate ballads, Melani L. Skybell is an exciting talent. Her musical training is extensive, as is her performance experience and multi-genre skill. Combined with her potential as a composer, Melani L. Skybell is a rising star. She possesses breakthrough qualities with crossover appeal to all generations of music lovers.  http://www.cdbaby.com/cd/skybell3

Life Is The Song

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Redtenbachers Funkestra - The Cooker

Styles: Jazz Funk
Year: 2013
File: MP3@320K/s
Time: 76:39
Size: 176,4 MB
Art: Front

(5:07)  1. Crankmaster General (feat. Eric Krasno)
(0:27)  2. Triple X (Drum Intro)
(4:47)  3. Triple X (feat. the Hornheads)
(5:47)  4. One Afternoon in Tunisia
(0:52)  5. Happy Birthday (To Funk You)
(6:41)  6. Unsquare Blues (feat. Christoph Wundrak)
(5:07)  7. One Afternoon in Tunisia (Sax Edit)
(1:17)  8. Happy Birthday (To Funky You) (Horn Edit)
(7:09)  9. The Cooker (feat. Lenny Pickett)
(5:00) 10. Funky Barbarella
(5:09) 11. The Oracle
(4:31) 12. Tricknologists (feat. Jim Hunt)
(7:12) 13. Bo & Rhino (feat. Lenny Pickett)
(4:54) 14. Dragonfly (feat. Michael B. Nelson)
(5:51) 15. The Whip
(6:41) 16. Unsquare Blues

‘The Cooker’ is Redtenbacher’s Funkestra’s fifth all-instrumental outing. This 11 piece, London-based ensemble is led by Austrian bassist Stefan Redtenbacher who draws his inspiration from Jazz, Funk and Soul. He has forged his own brand of Funk without conforming to any trends ranging from P-Funk, to JB’s to Funk Fusion all with a mighty big horn section and recorded with a retro tinge…a far cry from the oom-pah-pah that he grew up with in his native country of Austria. He still loves Strudel but definitely favours the Funk. The band was formed in 2005 with one of Britain’s most exciting tenor sax players, Jim Hunt and expanded to a six piece a few years later by adding Sid Gauld, Incognito’s trumpet player, to the regular line up. For the past 7 years they have performed on a regular basis at the long established 606 Jazz Club in London as well as numerous venues in the South-East of England in addition to British and European Festivals. 

Their records feature the core sextet enhanced by the best of British Jazz Funk musicians as well as superstar legends like Lenny Pickett (Tower of Power) and Fred Wesley (James Brown, Parliament) to name just two. Their live shows are highly entertaining, at times intense, peppered with instrumental deftness but always with a sense of fun and humour, customarily guaranteeing ‘a good night out.’ ‘The Cooker’ captures the live spirit of the core ensemble with carefully tuned arrangements and enhanced by two muscular horn sections while remaining firmly rooted in foot tapping groove music. Their special guests are Lenny Pickett (Tower of Power), Eric Krazno (Soulive) and Michael B. Nelson’s Hornheads (Prince). http://www.cdbaby.com/cd/redtenbachersfunkestra

The Cooker

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Paul Brown - Truth B Told

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 48:46
Size: 112,2 MB
Art: Front

(4:19)  1. Sunrise On Sunset
(6:12)  2. Purple Shoes (feat. Larry Carlton)
(3:49)  3. Better Late Than Never
(4:38)  4. Truth B Told (feat. Darren Rahn)
(4:04)  5. Take It From Me
(4:02)  6. Love N Trust (feat. Wendy Moten)
(4:17)  7. Casablanca (feat. Najee)
(4:42)  8. Home Sweet Home (feat. Richard Elliot)
(4:44)  9. Stay Sly (feat. Euge Groove)
(3:34) 10. Till the Mornin' Comes
(4:21) 11. Avalon Nights (feat. Dave Koz)

Most people that roll with me in my musical mafia know that I just don't care for "smooth jazz." Mind numbing predictability and over produced easy listening are simply not how I roll. Paul Brown has gone a little deeper with Truth B Told and the results should pay huge dividends for this highly respected performer. The one negative to the release would be his vocal duet with Wendy Moten, "Love n Trust." Nothing against Moten, Brown is the problem as his vocal chops just aren't there. Outside of the vocal blip, Brown moves past the more traditional pretentious ear candy associated with this genre on life support and hits some more blues infused regions of his six string soul that raise the level of the tunes and dynamics of what may well be his finest commercial success yet. Cameos are made by Larry Carlton on the gem of the release, "Purple Shoes." Other notable performances are from Dave Koz and Richard Elliot.
~ Brent Black  http://www.criticaljazz.com/2014/07/paul-brown-truth-b-told-woodward-2014.html

Truth B Told

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Grant Green - The Latin Bit

Bitrate: 320K/s
Time: 59:18
Size: 135.8 MB
Styles: Hard bop, Guitar jazz
Year: 1962/2007
Art: Front

[5:47] 1. Mambo Inn
[7:08] 2. Besame Mucho
[6:37] 3. Mama Inez
[4:57] 4. Brazil
[7:42] 5. Tico Tico
[6:20] 6. My Little Suede Shoes
[7:01] 7. Blues For Juanita
[6:22] 8. Grenada
[7:20] 9. Hey There

Grant Green, being known mainly as a soul jazz guitarist, eventually gravitated into the popular boogaloo sound. The Latin Bit is the natural bridge to that next phase, though a bit premature for most in 1961-1963, even relative to the subsequent bossa nova craze. Pianist Johnny Acea, long an underrated jazzman, is the nucleus of this session, grounding it with witty chops, chordal comping, and rhythmic meat. The Latino rhythm section of drummer Willie Bobo and conga player Carlos "Patato" Valdes personify authentic, seasoned spice, while at times the chekere sound of Garvin Masseaux makes the soup too thick. At its collective best, the group presents a steady, serene, and steamy "Besame Mucho" and the patient, slow, slinky, sultry "Tico Tico." Just a small step below is a classy take on Charlie Parker's "My Little Suede Shoes," a premier jazz bebop (emphasis) tune with a Latin undertow and Green's tiniest staccato phrases, slightly marred by the overbearing constant chekere, but still classic. "Mama Inez" ranks high for its calypso-infused happy feeling and wry stop-start lines. The straight-ahead hard bopper "Brazil" and lone soul-jazz tune, "Blues for Juanita," display the single-note acumen that made Green's style instantly recognizable. This date always yielded mixed results for staunch fans of Green, but it remains a credible effort, even if slightly flawed in part. [Some reissues add two selections with pianist Sonny Clark and tenor saxophonist Ike Quebec, the latter of whom plays hip secondary harmonies on the bossa nova-flavored "Granada," but is in the complete background and a non-factor on the pop tune "Hey There."] ~Scott Yanow

The Latin Bit

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Sheila Cooper - Since You Were Mine

Bitrate: 320K/s
Time: 46:35
Size: 106.7 MB
Styles: Saxophone jazz, Vocal jazz
Year: 1999
Art: Front

[2:25] 1. You'd Be So Nice To Come Home To
[5:01] 2. Meet Me At No Special Place
[5:57] 3. You Turned The Tables On Me
[3:58] 4. Shall We Dance
[4:57] 5. The Thrill Is Gone
[6:58] 6. Lonely House
[3:45] 7. I Wake Up In The Morning Feeling Fine
[5:00] 8. I'll Build A Stairway To Paradise
[4:26] 9. If I Only Had A Brain
[4:06] 10. The Gentleman Is A Dope

The Canadian-born, New York-based singer, alto saxophonist, composer and arranger is -- as saxophone star Lee Konitz notes -- "a singer on her horn and with her voice, and that's the best playing for me."

Sheila Cooper has created imaginative and elegant renderings of popular standards that showcase her fresh, sexy voice and crisp, swinging alto sax playing. Also featured is the world-class rhythm section of Renee Rosnes on piano, Scott Colley on acoustic bass, and Billy Drummond on drums.

Since You Were Mine

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Johnny Cash - Cash Sings Hank Williams

Bitrate: 320K/s
Time: 36:34
Size: 83.8 MB
Styles: Country
Year: 2011
Art: Front

[1:43] 1. I Can't Help It (If I'm Still In Love With You)
[2:16] 2. You Win Again
[1:39] 3. Hey, Good Lookin'
[2:11] 4. I Could Never Be Ashamed Of You
[2:45] 5. Next In Line
[2:14] 6. Straight 'a's In Love
[2:48] 7. Folsom Prison Blues
[2:43] 8. Give My Love To Rose
[2:43] 9. I Walk The Line
[2:24] 10. I Love You Because
[1:39] 11. Come In Stranger
[2:28] 12. Mean Eyed Cat
[2:18] 13. Cold, Cold Heart
[2:22] 14. (I Heard That) Lonesome Whistle
[2:00] 15. Come Stranger
[2:16] 16. Wide Open Road

Part of producer and Sun Records label owner Sam Phillips' post-Johnny Cash output after the singer had departed for Columbia Records, the original release of this collection of Hank Williams covers laced with Cash's own songs was burdened with choir-like backing vocals intended to sweeten the performer's stripped-down rockabilly sound. The tracks are here restored to their former stark beauty, with the addition of rarities like Cash's own "Mean-Eyed Cat," and one of his first recordings, a solo version of "Wide Open Road," where Williams' influence can be clearly heard. And, for those who actually prefer their Johnny Cash assisted by a heavenly choir, there's "I Love You Because," with the bonus of some distinctly Jerry Lee Lewis-sounding piano accompaniment. Originally released on Sun Records (1245).

Recording information: ??/??/1954-05/15/1958.

Cash Sings Hank Williams

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Paul Carr - Standard Domain

Bitrate: 320K/s
Time: 60:17
Size: 138.0 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[5:14] 1. Standard Domain
[7:40] 2. Dream Dancing
[6:42] 3. Bye George
[7:45] 4. Cheek To Cheek
[6:43] 5. Warm Valley
[5:53] 6. I'm Getting Sentimental Over You
[6:39] 7. Sixteen
[6:20] 8. Till There Was You
[7:16] 9. Tetragon

Standard Domain is Paul Carr's fifth recording as a leader. The session was done just before Christmas, 2011. Nine tracks in one day? The Houston native and mainstay on the Washington, D.C. Jazz scene was quick to acknowledge the challenge of recording this way: "You've got to be a little crazy, especially not rehearsing first. However, I have recorded all of my CD's that way and the trick is to have the right guys." Paul has done a lot of playing with bassist Michael Bowie and trumpeter Terrell Stafford. He's also played and recorded with Lewis Nash. The newest member of the ensemble is pianist Joey Calderazzo, best known for his work with Branford Marsalis and Michael Brecker. Standard Domain includes an engaging mix of the classic American songbook, Jazz standards, and one of Paul's own compositions, focusing on songs with memorable melodies because "they usually produce great development sections and great improvisions."

Standard Domain

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Lulee Fisher - In Love Again

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 56:26
Size: 130,4 MB
Art: Front

(2:18)  1. Fallin in Love Again/I Wish I Were In Love Again
(3:56)  2. East Of The Sun
(3:21)  3. Loving You
(3:47)  4. A Day In The Life Of A Fool
(5:08)  5. The Nearness Of You
(3:13)  6. A Foggy Day
(4:55)  7. Wave
(5:15)  8. I Thought About You
(2:51)  9. Lullaby Of Birdland
(3:04) 10. Let's Eat Home
(4:44) 11. Someone To Watch Over Me
(4:49) 12. Honeysuckle Rose
(4:34) 13. Corcovado
(4:25) 14. Mood Indigo

In the daunting world of girl singers, San Francisco Bay Area-born, tall, blonde and beautiful Lulee Fisher is something special. From her earliest childhood days when she put on "shows" to amuse her family and friends, her fascination with the world of entertainment, and her love of entertaining, was clear. As a young girl, she was trained in the music of classical opera. She also performed as a soloist with church and school choirs and in stage musicals, when opportunities arose. Her passion for jazz began through the influence of her aunt, Ramona Crowell, who was a friend of the great Dizzy Gillespie, among others, and she gave Lulee, at an early age, the opportunity to attend performances of many of the jazz legends. Later on, as a young woman with a yen for traveling, she stopped in Honolulu on her way to join a friend in Afghanistan, fell in love with Hawaii and remained to enroll at the University of Honolulu, where she studied for a degree in architecture. In time, however, she realized that her greatest interest was in the field of entertainment, and she switched her major to music and drama. Eventually, she moved to Los Angeles to pursue a career in Hollywood, where she became involved in the film business, first as an actress and singer and, finally, in producing. Still, her devotion to jazz and her role in it remained strong and dominated in her goal setting. Whether on location in Europe, or Australia, or Canada, she would seek out jazz clubs, sit in with the musicians and take available gigs. 

Today, she continues to be, as she says, "seriously and totally committed to jazz music." Her smooth and pleasing contralto voice has a good range (nearly four octaves) and intonation, and has been honed under the tutelage of singing great, Sue Raney. Her earlier days as an actress have given her the background to effectively interpret lyrics, dramatic and otherwise, and her good sense of rhythm bodes her well in her handling of upbeat songs. In regard to her singing, she states, "It has something to do with what I want to share with my audience. I want to share more intimate feelings. I want to take people into my arms with my voice and hold them close. My singing is about my personal relationship to life, music, philosophy and people. I think the most important thing about jazz, besides the music itself, is the feeling. It is out of feeling that music comes. So, for me, jazz rings true when it is connected to feeling, and my wanting to share what I feel, or another person feels. There's such a deep, emotional impact to so many jazz songs, and that's what I really want to go for." So now please share with Ms. Lulee Fisher her interpretations of the songs which she has selected for this, her first CD, "In Love Again." It is an excellent presentation of standard and current hits, ranging from ballads and blues to bossa nova and humor, all splendidly sung with the backing of some of the West Coast's finest musicians. ~ Bob Agnew (L.A. Jazz Scene)  http://www.cdbaby.com/cd/lulee

In Love Again

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Connie Evingson And The John Jorgenson Quintet - All the Cats Join In

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 55:38
Size: 133,3 MB
Art: Front

(4:32)  1. Love Me or Leave Me
(3:13)  2. I Can't Believe That You're in Love With Me
(4:43)  3. Dream a Little Dream of Me
(4:59)  4. Jardin D'hiver
(4:40)  5. All the Cats Join In / Tickle Toe
(3:09)  6. Between the Devil and the Deep Blue Sea
(4:10)  7. Black Orpheus
(3:12)  8. I'll Follow the Sun
(3:57)  9. Solitude
(4:03) 10. Jersey Bounce
(3:17) 11. You're Driving Me Crazy
(3:11) 12. Moonlight
(3:57) 13. World Without Love
(4:27) 14. The Lamp Is Low

Connie Evingson's tenth release on Minnehaha Music and her third hot club album was recorded with John Jorgenson's Quintet in Minneapolis at Creation Audio, save the one special title track that Connie and Jorgenson's group put together in New York with NEA Jazz Master Jon Hendricks. The fourteen tunes cover a wide range of standards and some interesting choices two from Paul McCartney, one from French singer/songwriter Karen Ann, and of course the title medley of Eddie Sauter's "All the Cats Join In" paired with Lester Young's "Tickle Toe" sporting Hendrick's vocalese lyrics. Regardless of origin, these arrangements tend to vary more in mood than tempo or rhythm, as is typically the case with hot club repertoire. And as such, this music requires deft presentation and interpretation to maintain interest over fourteen tracks a feat that presents no problem for Connie or the ensemble. The program itself is one reason Connie has not recorded any of these tunes on her other nine albums, and when you cover everything from Harold Arlen to Jimmy NcHugh, from Luis Bonfa to John Williams, from Ellington to McCartney, you have a wide range of material to work with!  And then there's the crazy quilt of moods shaped so well by Connie's phrasing and timing, and here also supported particularly by the virtuosity of John Jorgenson (guitar, clarinet and vocals) and Jason Anick (violin). 

The album opens with that trademark up-and-down, slowly paced rhythm guitar (Doug Martin) on Walter Donaldson/Gus Kahn's "Love Me or Leave Me," introducing the pairing of Jorgenson (guitar and clarinet) and Anick (violin), a tandem arrangement that distinguishes much of the recording. Anick leads the instrumental charge on the bright, seldom-heard Jimmy McHugh tune, "I Can't Believe That You're in Love With Me," with Jorgenson's clarinet and Rick Reed's drums adding special touches. Karen Ann's "Jardin D'hiver" is a meditative song with French lyrics buoyed by Anick's beautifully yearning violin. The McCartney tunes work surprisingly well as gypsy jazz swing. "I'll Follow the Sun" features Jorgenson's "background" vocal which seems much more, with lovely harmonizing among Connie and John. They give "World Without Love" similar, but more adventurous treatment. The guitar-only support on John Williams' "Moonlight" (lyrics by the Bergmans) throws the moonlight onto Connie's stunning vocal arrangement, while tunes such as Walter Donaldson's "You're Driving Me Crazy" highlight her impeccable timing and vocal dexterity. With violin and clarinet adding "midnight glow," the ensemble makes the closing "The Lamp Is Low" an instrumental highlight. But nothing can surpass the all-out fun of the title track. 

And what could be better than Connie dueling with Jon Hendricks? Melding "All the Cats Join In" (Eddie Sauter with lyrics from Alec Wilder, Ray Gilbert and Jessica Molaskey) with Lester Young's "Tickle Toe" infused with Hendrick's vocalese, this track is one delight after another. Connie takes the first verse solo then turns it over to Hendricks, take back the lead on the first verse of "Tickle Toe" displaying her own vocal gymnastics. The two go back and forth, vocalese, duo harmonies, Hendricks scatting as only he can. My only very mild criticism of this album is that this track might have better ended the set it's such a high point. http://www.jazzpolice.com/content/view/11386/53/

All the Cats Join In

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Michael Dease - Relentless

Styles: Trombone Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 63:37
Size: 146,0 MB
Art: Front

(6:19)  1. Is That So
(7:07)  2. Autumn Leaves
(6:37)  3. Force
(5:55)  4. Relentless
(5:46)  5. I'm Glad There Is You
(6:06)  6. The Takeover
(7:11)  7. Little Lucas
(5:49)  8. Roppongi
(6:53)  9. Two Bass Hit
(5:51) 10. Webster Grooves

While rising star trombonist Michael Dease's previous albums have all been small group affairs, much of his sideman work has marked him as something of a large ensemble specialist. He's put his slide to good use in numerous big bands and jazz orchestras, including those led by Christian McBride, Charles Tolliver, Roy Hargrove, Rufus Reid, and Nicholas Payton. Given that information, it should come as no great surprise that Dease decided to make a go of fronting his own big band. Relentless the rising star trombonist's sixth album, and his first on the Posi-Tone imprint finds Dease in charge of a group that's populated with other big band mainstays (trumpeters Seneca Black and Greg Gisbert), young jazz heavies (bassist Linda Oh, drummer Ulysses Owens Jr., saxophonist Sharel Cassity), and a few welcome guests (trombonist Wycliffe Gordon and guitarist Andrew Swift). 

The program reads like a history of Dease's commissions and musical upbringing. He reclaims arrangements originally penned for Hargrove's group (Duke Pearson's "Is That So"), the WDR Big Band (Eric Alexander's "Little Lucas"), and the Webster Groves High School Big Band ("Webster Grooves"); he expands music previously recorded in a small group setting ("Relentless") and looks back on his early attempts at writing for big band ("The Takeover"); and he reshapes classics that he's learned to love over the years ("Two Bass Hit," I'm Glad There Is You," and "Autumn Leaves"). Dease's charts kick, swing, leave lots of room for soloists, and occasionally put each section to the test with fiery, finger-busting passages. It's not all high energy, adrenaline-fueled music, but the most memorable performances "The Takeover," "Roppongi," and "Two Bass Hit" tend to get the pulse racing in some way. Groups like this tend to be studio-made bands, not working units, so it'll be interesting to see if Dease can get this group on the bandstand and develop what he's started. It's a unit with plenty of muscle, driven by a leader with boundless talent, so here's to hoping that Dease can keep it afloat and help it evolve. ~ Dan Bilawsky  http://www.allaboutjazz.com/relentless-michael-dease-posi-tone-records-review-by-dan-bilawsky.php#.VDsc0hawTP8

Personnel: Michael Dease: trombone, musical director; Todd Bashore: alto saxophone, flute; Tim Green: alto saxophone, flute; Diego Rivera: tenor saxophone; Sharel Cassity: tenor saxophone; Tony Lustig: baritone saxophone; Adam Rongo: tenor saxophone (7); Seneca Black: trumpet; Greg Gisbert: trumpet; Alphonso Horne: trumpet; Etienne Charles: trumpet; Alex Norris: trumpet; Benny Benack III: trumpet; Anthony Stanco: trumpet; Tom "Bones" Malone: trombone; Jerrick Matthews: trombone; Coleman Hughes: trombone; Jeff Nelson: bass trombone; Ron Wilkins: trombone; Peter Nelson: trombone (7, 10); Wycliffe Gordon: trombone (10), vocals (8), slide trumpet (8); Miki Hayama: piano; Linda Oh: bass; Ulysses Owens Jr.: drums; Andrew Swift: guitar (7); Gwendolyn Burgett: percussion.

Relentless

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