The Jim Mullen Organ Trio Feat. Stan Sulzmann - Smokescreen

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 59:14
Size: 136,1 MB
Art: Front

(6:56)  1. Consolidation
(6:58)  2. Stairway to the Stars
(5:15)  3. It Never Entered My Mind
(5:56)  4. Walk on By
(4:58)  5. When I Grow Up
(5:07)  6. Smokescreen
(5:08)  7. Aja
(4:28)  8. Cornelius
(5:03)  9. The White Cockade
(4:34) 10. Buzzard Count
(4:48) 11. Chances Are

It's hard to find even the most spartan abstract-music fan who isn't a closet admirer of Hammond organ jazz. The gospel-powered style popularised by Jimmy Smith in the 1960s still crosses generations. (The Hammond's gospel roots go back to the era when not all churches had organs, but the Hammond had wheels, allowing preachers to drive them to the service). Jim Mullen, the great Scottish funk and jazz guitarist, runs a mellow, lightly-swinging, more idiomatically wide-ranging version, with the elegantly boppish Mike Gorman doing the organ honours - and saxophonist Stan Sulzmann is a welcome guest on three tracks. The Scottish traditional The White Cockade works unexpectedly well with Sulzmann's soprano. And Mullen's silky sound, and a slow account of Stairway to the Stars makes the best of the guitarist's singing tone Mullen has the remarkable knack of sometimes making his instrument suggest Ray Charles's voice. 

Mullen's springy rhythmic sense and Gorman's twisting lines also make a classy job of It Never Entered My Mind. The only catch is that the music has a restrained, lounge-jazzy feel occasionally, and you wish for a burst or two of vulgar, old-fashioned Hammond-bashing hyperbole. But this is a popular UK touring band, faithfully presented. ~ John Fordham  http://www.theguardian.com/music/2006/dec/15/jazz3

Personnel:  Jim Mullen – guitar; Mike Gorman - Hammond organ; Matt Skelton – drums; Stan Sulzmann - sax

Smokescreen

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Pete Jolly Trio - Pete Jolly Trio & Friends

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 59:17
Size: 136,4 MB
Art: Front

(2:23)  1. Little Bird
(2:44)  2. A Sleepin' Bee
(2:51)  3. Here's That Rainy Day
(6:33)  4. No Other Love
(3:04)  5. Soft Winds
(6:30)  6. Can't We Be Friends?
(5:49)  7. I'm Beginning To See The Light
(3:20)  8. Oleo
(2:25)  9. Falling In Love With Love
(2:42) 10. Three-Four-Five
(8:01) 11. Alone Together
(2:32) 12. Sweet September
(2:19) 13. The Moment Of Truth
(2:49) 14. Blues Two Ways
(2:23) 15. The Grass Is Greener
(2:43) 16. The First Of May

This CD contains selections taken from pianist Pete Jolly's three mid-'60s LPs for Ava. Although it would have been preferable to have all of the music complete, this is a fine all-round sampler. The talented bop-based pianist is joined by bassist Chuck Berghofer, guitarist Howard Roberts, either Larry Bunker or Nick Martinis on drums and, on seven of the 16 selections, a string orchestra. All but five of the performances are under 3 1/2 minutes and, although those are enjoyable enough, it is Jolly's longer explorations ("Falling in Love with Love," "Alone Together," "No Other Love," "Can't We Be Friends" and "I'm Beginning to See the Light") that are most memorable. This CD serves as a good introduction to Pete Jolly's fine playing. ~ Scott Yanow  http://www.allmusic.com/album/pete-jolly-trio-and-friends-mw0000103244

Personnel: Pete Jolly (piano); Howard Roberts , Barney Kessel (guitar); Anatol Kaminsky, Erno Neufeld, Kurt Dieterle, Lou Raderman, Sid Sharp, Leonard Malarsky (violin); Raphael Kramer, Edgar Lustgarten (cello); Bob Hardaway, John Lowe, Bill Perkins, Bill Robinson , Bud Shank (saxophone); Jim Zit, Jules Chaiken, Lee Katzman, Ollie Mitchell (trumpet); Mike Barone, Bob Edmondson, Ernie Tack (trombone); Norm Jeffries, Nick Martinis, Larry Bunker (drums).

Pete Jolly Trio & Friends

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Robben Ford - City Life

Bitrate: 320K/s
Time: 55:51
Size: 127.8 MB
Styles: Blues-jazz guitar
Year: 2006/2013
Art: Front

[9:28] 1. City Life
[8:30] 2. One Day At A Time
[6:22] 3. I Could See Forever
[7:39] 4. Wanderlust
[6:19] 5. Billie's Bounce
[7:22] 6. I Put A Spell On You
[6:01] 7. Blues Connotation
[4:06] 8. Blues Connotation (Reprise)

"City Life" is a collaboration between guitarist Robben Ford and drummer Jerry Granelli, an all instrumental jazz and fusion project which was partially recorded in 1988 and partially recorded in 1992. "City Life" also features stellar artists contributing to the music, including guitarist Bill Frisell, synthesist Ralph Towner, trombone player Julian Priester, bassist Charlie Haden, alto saxophonist Kenny Garrett and more. Sharp-eyed fans will remember these tracks released under the album title of "Blues Connotation" back in the mid-1990's, and now these tracks are finally available again. Shortly after the recording of these tracks, Ford returned to his devotion to the blues, so this fusiony improv style wasn't to be heard again in a long time.

City Life

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Serenity Stewart - Champagne Taste

Bitrate: 320K/s
Time: 46:21
Size: 106.1 MB
Styles: Pop-jazz vocals
Year: 2013
Art: Front

[3:28] 1. Champagne Taste
[4:41] 2. That's The Way I Always Heard It Should Be
[2:46] 3. Por Favor
[2:45] 4. Tonight I'll Say A Prayer
[2:53] 5. Mink Shmink
[5:19] 6. Eres Tu
[2:56] 7. I Must Have That Man
[3:17] 8. I Wanna Be Evil
[4:18] 9. Come In From The Rain
[3:14] 10. 99 Miles From L. A
[2:57] 11. You'd Better Come Home
[2:12] 12. Put That Ring On My Finger
[5:30] 13. Good Morning Heartache

Take the glamor of the late 1930s and 1940s mixed with a modern twist and Serenity Stewart was born. Music is in the blood of this eclectic beauty and single mom to four.

While Serenity has had many careers over the years, nothing beckoned her more than her love for the arts -- a constant staple throughout her life. Serenity began at the ripe age of eight when the congregation fell silent upon her rendition of a popular hymn. She then went on to train classically as a Coloratura Soprano and at the age of fourteen, was asked to audition for the Detroit Metropolitan Opera.

A talented musical and theater production artist, Serenity has performed in countless productions such as Murder in the Key of C and Murder by Proxy. Serenity was the lead vocalist/soloist in Voices of the Desert. She went on to win a Kiwanis Silver Medal for Canada for Best Supporting Actress in an ensemble play, as well as performing bit parts in film for Toronto’s Visual Productions.

Champagne Taste

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Hank Crawford - Dig These Blues

Bitrate: 320K/s

Time: 35:08

Size: 80.4 MB

Styles: Hard bop. Soul jazz

Year: 1965/2005

Art: Front

[4:31] 1. Dig These Blues

[5:01] 2. Don't Get Around Much Anymore

[2:57] 3. Banana Head

[2:47] 4. H. C. Blues

[2:34] 5. It's A Sin

[3:17] 6. Hollywood Blues

[5:45] 7. Baby Won't You Please Come Home

[4:22] 8. New Blues

[3:51] 9. Bluff City Blues

Hank kicks back and blows soulfully – working in a variety of groups with hip players that include Wendell Harrison, Ali Mohammed, Wilbur Brown, and Leroy Cooper. The overall sound is similar to Crawford's other work on Atlantic – nothing too challenging, but in a soulful mode that's always pretty tight.

Dig These Blues

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Maucha Adnet & Helio Alves - Milagre

Styles: Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 57:07
Size: 130,8 MB
Art: Front

(4:31)  1. O Cantador
(3:22)  2. Eu Vim Da Bahia
(3:41)  3. Waters of March
(7:22)  4. Gabriela
(3:58)  5. Retrato Em Branco E Preto
(4:17)  6. Coração Vagabundo
(4:04)  7. Caminhos Cruzados
(4:38)  8. Vale Do Ribeira
(3:33)  9. Desafinada
(3:57) 10. Amor Infinito/ Bons Amigos
(2:54) 11. Milagre
(3:33) 12. Tico-Tico No Fuba
(3:18) 13. Canto Triste
(3:53) 14. April Child

Vocalist Maucha Adnet and pianist Helio Alves have been collaborating in various settings for two decades, but Milagre marks their first full-length recording as a twosome. Adnet, who's best known for her decade-long tenure with the great Antonio Carlos Jobim, and Alves, a first call pianist who's worked with everyone from saxophonist Joe Henderson to cellist Yo-Yo Ma, are both part of a group of close-knit veterans that breath Brazilian air into the jazz atmosphere of Manhattan. This Brazilian jazz mafia, which also includes guitarist Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonseca, has served as a binding entity of sorts between Alves and Adnet, which helps to explain the deep bond they've formed over the years. 

Now, with Milagre, they can finally parlay their shared experiences into a passionate, bare-all project for two. Together, Adnet and Alves explore Grade A material written by Brazil's finest composers, who also happen to be friends, former employers, and favorites of both musicians. Jobim, Dori Caymmi, Caetano Veloso, Hermeto Pascoal, Moacir Santos, Gilberto Gil, Toninho Horta and several other notables are given their due during this intimate fourteen-song recital. Gentle journeys and energetic fare are both doled out with equal skill as they explore the ins and outs of their homeland's compositional élite. Adnet's voice is an emotionally powerful instrument capable of firmness or fragility, depending on the situation. When the tempo slows down and the lights are low, she reveals an attractive vocal wave more a quiver than out-and-out vibrato that heightens the intensity in her delivery; this level of directness and honesty transcends mere language when it appears. 

Alves can be called an equal partner here or an accompanist-cum-soloist but, regardless of his classification, he proves to be the perfect pianistic companion for Adnet. He mirrors and amplifies her mood, shades around her lines, creates in-the-wee-small-hours settings or implies the Brazilian rhythmic undercurrents that are usually delivered by the bottom end of a band. When he's given space and free rein to set the scene, he doesn't let the opportunity go to waste ("Vale Do Ribeira"). Adnet and Alves have such an easy way with one another throughout this date so, given their close musical proximity over the years; it's surprising that it took this long for them to get together sans company. Milagre is a long overdue treat. ~ Dan Bilawsky  http://www.allaboutjazz.com/milagre-maucha-adnet-zoho-music-review-by-dan-bilawsky.php#.VF_DZsmHmtg
 

Personnel: Maucha Adnet: vocals, percussion (8, 12, 14); Helio Alves: piano.

Milagre

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Tedeschi Trucks Band - Made Up Mind

Styles: R&B
Year: 2013
File: MP3@320K/s
Time: 53:22
Size: 122,4 MB
Art: Front

(3:55)  1. Made Up Mind
(4:36)  2. Do I Look Worried
(5:11)  3. Idle Wind
(5:43)  4. Misunderstood
(4:08)  5. Part Of Me
(4:06)  6. Whiskey Legs
(4:59)  7. It's So Heavy
(5:13)  8. All That I Need
(5:04)  9. Sweet And Low
(6:35) 10. The Storm
(3:46) 11. Calling Out To You

In so many ways, Tedeschi Trucks Band has bucked the odds: a band, on paper, doomed to fail and yet, here it is with its second studio recording, after the 2011 debut, Revelator and 2012 live album, Everybody's Talkin' (both, Sony Masterworks). In these days of escalating touring costs, the idea of an eleven-piece rock/soul/blues band being not just viable but successful would seem impossible. Then there's the decades-old unwritten rule: never date or, worse, marry one of your band mates. And yet, with a behemoth of a band and its two leaders a married couple, TTB continues, moving from success to success. Derek Trucks, nephew of drummer Butch Trucks both now playing together in the Allman Brothers Band, where Butch is a founding member, for more than a decade seems to embody a rare humility; his own Derek Trucks Band, which preceded TTB from 1997-2010, an ideal proving ground for the guitarist who has been on the road since the age of 12, picking up the torch left by the late Duane Allman and evolving, with influences that transcend blues and roots music to incorporate jazz and world music concerns, into today's most impressive, emotive and virtuosic slide guitarists, with a thick, singing and instantly recognizable tone. Tedeschi, since achieving her first real success with Just Won't Burn (Tone Cool, 1997), has emerged as a blues singer for the new millennium; a singer whose interests, like Trucks, go beyond the purer roots and into the areas of soul, R&B, rock and roll, and more. 

With Bonnie Raitt a touchstone but a voice more powerful and with greater range and grit, when Tedeschi and Trucks hooked up (both in life and music), it seemed like a match made in heaven. On the strength of Made Up Mind, it clearly must be, as the two lead a band with the only change being the loss of keyboardist/flautist Kofi Burbridge's brother, bassist Oteil. The music remains a thoroughly compelling and exciting blend, ranging from joyously upbeat ("Part of Me") and positively soul-drenched ("Do I Look Worried") to flat-out rocking ("Made Up Mind"), greasy funk ("Misunderstood") and folk-informed ("Idle Wind," featuring Burbridge's lovely flute work). 

But with a couple years of significant touring under its belt, TTB has become, at once, both tighter and even more relaxed. Trucks remains the predominant soloist, and his slide playing continues to evolve at an almost alarming rate, executing huge intervallic leaps with absolutely perfect intonation, for example, but never for the sake of it. Because it's music the joy of making it, the joy of performing it live and the joy of simply being in it that clearly drives Tedeschi Trucks Band. Backup singer Mike Mattison (and previous Derek Trucks Band lead singer) writes, in his liner notes: "What better way to gain resonance, to offer sustenance, to show your reverence for the deep meaning of the blues? Have a Singing Army! Throw DOWN the music like you mean it and make the performance bigger, crazier, messier and maniacal. "I'm going to THAT party."

~John Kelman  http://www.allaboutjazz.com/made-up-mind-tedeschi-trucks-band-sony-masterworks-review-by-john-kelman.php#.VGUmIMmHmtg

Personnel: Susan Tedeschi: guitar (6, 7), vocals, percussion (1); Derek Trucks: guitars, percussion (10); Kofi Burbridge: keyboards (1-10), flute (3); Tyler Greenwell: drums (1-10), percussion (1-10); J.J. Johnson: drums (1-10), percussion (1-10); Kebbi Williams: saxophone (1-5, 7, 8) ; Maurice Brown: trumpet (1-5, 7, 8); Saunders Sermons: trombone (1-5, 7, 8), vocals; Mike Mattison: vocals (1-5, 7-9); Mark Rivers vocals (1-5, 7-9); Pino Palladino: bass (1, 7-9, 10); Bakithi Kumalo: bass (3, 4), percussion (3, 4), congas (4); George Reiff: bass (6); Dave Monsey: bass (2, 5); John Leventhal: guitar (2); Doyle Brahmall II: guitar (5, 8); Jim Scott: handclaps (5); Erik Krasno: guitar (7), percussion (10).

Made Up Mind

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Steve Tyrell - I'll Take Romance

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 43:30
Size: 105,4 MB
Art: Front

(3:52)  1. At Last
(4:04)  2. That's All
(2:39)  3. Taking A Chance On Love
(3:33)  4. (I Love You) For Sentimental Reasons
(2:54)  5. I'll Take Romance
(4:06)  6. Talk To Me, Talk To Me
(3:11)  7. You Turn Me Around
(3:39)  8. A Love That Will Last
(3:41)  9. All Of You
(4:04) 10. Trust In Me
(3:09) 11. Don't Know Much
(4:32) 12. The Way You Look Tonight

An homage to the Great American Songbook, vocalist Steve Tyrell's 2012 studio album I'll Take Romance features the singer on various classics of American popular song. Featured are such compositions as "That's All," "Taking a Chance on Love," and more. Also included are Tyrell's versions of such R&B classics as Etta James' "At Last," Sam Cooke's "(I Love You) For Sentimental Reasons," and the Supremes' "You Turn Me Around." 

~ Matt Collar  http://www.allmusic.com/album/ill-take-romance-mw0002235665

Personnel: Shari Zippert, Michele Richards, Gina Kronstadt, Jenny Takamatsu, Diane Rammon, Nancy Roth, Lesa Terry, Neel Hammond, Mark Cargill (violin); Robin Ross, Jimbo Ross, Philip Rammon, Rodney Wirtz (viola); David Mann (alto saxophone); Lawrence Feldman (tenor saxophone); Lou Marini (baritone saxophone); Randy Brecker (trumpet); Mike Davis (trombone).

I'll Take Romance

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Roy Meriwether - Preachin'

Styles:R&B, Piano Jazz
Year: 1969
File: MP3@256K/s
Time: 29:42
Size: 58,3 MB
Scans:

(7:38)  1. Prologue That's Enough, By Myself, Ending Pilgram Of Sorrow
(4:02)  2. What He's Done For Me
(3:13)  3. Preachin'
(2:31)  4. Ode To Billie Joe
(2:34)  5. Little Green Apples
(3:31)  6. I'm Gonna Make You Love Me
(2:32)  7. Tribulation
(3:38)  8. This Guy's In Love With You

A multi-dimensional and self-taught virtuoso, Roy Meriwether blends jazz, blues, and gospel with classical elements in a unique and innovative style that has drawn enthusiastic crowds to night clubs, colleges, and concert halls across the country.Born in Dayton, Ohio, Mr. Meriwether started playing piano at the age of three and had composed two pieces before he was four. Shortly thereafter, he began playing in his father’s church, accompanying the family choir, and performing with gospel singers throughout the Midwest. Mr. Meriwether turned professional with his own group at age 18 and has devoted himself to both composing and performing ever since. Reviewers are frequently impressed by his power. Critic Arnold Shaw once described him as a “two-fisted pianist who in this day of right-handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right.” As reported in the Scottsdale, Arizona Daily Progress: “Mr. Meriwether performs both standards and original compositions with a creativity that is nothing short of genius. Meriwether himself is the epitome of a ‘giving’ musician, at his best with a responsive, listening audience. He does not require it, but appreciates it and rewards it with dynamite delivered with the power his hands produce.” In 1973, the National Endowment for the Arts bestowed on Mr. Meriwether a Jazz Composition Fellowship Grant for the purpose of writing a musical work tracing the history of the black experience in America. 

The scope and breadth of the project resulted in the 21-piece suite, BLACK SNOW, written and premiered for the United States Bicentennial Celebration, April, 1976, with the Howard Roberts Chorale and the Dayton Contemporary Dance Guild. Living in New York City since 1976, Roy continually elicits standing ovations from his audiences. He is frequently called upon to compose specific works for special events such as the November, 1989 NAUBA Salute to Women Conference in the Bahamas, where he performed his piece, “A Tribute To You, My Lady.” He has received numerous awards including Jamaica Queens New York Jazz Community Award, the New York Manhattan Association of Cabaret Award (MAC Award), and has been considered for a Grammy nomination. In March of 1999, Mr. Meriwether received a Lifetime Achievement to Music Award. Mr. Meriwether's sound is unmistakable, and his music is timeless! His latest releases are: “The Art Of The Groove”, "Inspiration", "Live at John Word's", and "Live at Gordy's." Roy continues to tour regularly throughout the US and occasionally to Europe. ~ Bio  http://www.amazon.com/Roy-Meriwether/e/B000APZH44

Thank You GGLTD!
Preachin'

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Sara Lazarus - It's All Right With Me

Bitrate: 320K/s
Time: 42:21
Size: 98.3 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[2:39] 1. Gypsy In My Soul
[4:10] 2. Taking A Chance On Love
[3:33] 3. What A Little Moonlight Can Do
[3:28] 4. Embraceable You
[3:56] 5. It's All Right With Me
[5:08] 6. Dans Mon Ile
[3:03] 7. Deed I Do
[2:15] 8. Down With Love
[3:59] 9. Jim
[3:16] 10. The Way You Look Tonight
[3:40] 11. In The Wee Small Hours Of The Morning
[3:09] 12. Cheek To Cheek

Sara Lazarus' second CD since winning the Thelonious Monk International Jazz Competition for vocals is primarily a meeting with the phenomenal Gypsy jazz guitarist Biréli Lagrène and his band, focusing primarily on upbeat standards about love. Lazarus' expressive vocals are never coy or overdone; instead, she embellishes each song with just the right touch, with Lagrène's delightful solos providing a break between choruses. Highlights include her lively "What a Little Moonlight Can Do," the sassy "It's All Right with Me," and the infectious "Cheek to Cheek." A string section plus drummer André Ceccarelli (who sticks to brushes) take the place of Lagrène's band on three slow ballads arranged by Raymond Gimenes, all of which provide a perfect backdrop for Lazarus' rich vocals. Sara Lazarus' sophomore release reveals a singer with a bright future. ~ Ken Dryden

It's All Right With Me

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Jimmy Raney Quartet - Raney '81

Bitrate: 320K/s
Time: 73:19
Size: 167.8 MB
Styles: Guitar jazz
Year: 1981/2009
Art: Front

[5:38] 1. What Is This Thing Called Love
[5:58] 2. This Is New
[4:51] 3. My Shining Hour
[5:12] 4. Peri's Scope
[6:26] 5. Sweet And Lovely
[4:46] 6. Chewish Chive And English Brick
[6:35] 7. If I Should Lose You
[5:38] 8. What Is This Thing Called Love (Alt.Take)
[5:24] 9. Peri's Scope (Alt.Take)
[4:58] 10. My Shining Hour (Alt.Take)
[6:27] 11. Sweet And Lovely (Alt.Take)
[6:34] 12. If I Should Lose You (Alt.Take)
[4:47] 13. Chewish Chive And English Brick (Alt.Take)

Jimmy Raney (G); Doug Raney (G); Jesper Lundgaard (B); Eric Ineke (D). Recorded February 27, 1981 in Hilversum, The Netherlands by Jan Kranendonk

Amazing European debut on Dutch Criss Cross label for Jimmy Raney who sounds here better than ever with his quartet including his son Doug on guitar who, not surprisingly, sounds just like dad - no mean feat!

Raney '81

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Ruby Braff - How Soon Is Now?

Styles: Cornet Jazz
Year: 2012
File: MP3@320K/s
Time: 78:57
Size: 181,4 MB
Art: Front

(5:27)  1. Keep Smiling At Trouble
(4:18)  2. I Got It Bad and That Ain't Good
(3:48)  3. Hustlin' and Bustlin' for Baby
(7:05)  4. Fine and Mellow
(6:43)  5. Somebody Else Is Taking My Place
(5:14)  6. Did I Remember
(6:07)  7. I Can't Get Started
(7:19)  8. It's Been So Long
(5:45)  9. I'm in the Market for You
(6:23) 10. We Tried
(4:41) 11. Marie
(5:18) 12. When It's Sleepy Time Down South
(6:01) 13. I'm Coming Virginia
(4:40) 14. Where's Freddie

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms. He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own. He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. 

His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities. He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein. His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit. He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden. 

In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway. Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator. That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems). He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again. Bio ~ http://musicians.allaboutjazz.com/rubybraff

How Soon Is Now

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Marina Xavier - Where Do You Start?

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 46:49
Size: 108,0 MB
Art: Front

(5:04)  1. Where Do You Start?
(3:50)  2. I Just Found Out About Love
(4:44)  3. Here's to Life
(3:30)  4. All of Me
(3:29)  5. How Do You Keep the Music Playing
(2:50)  6. Goody Goody
(4:11)  7. Que reste-t-il de nos Amours? (I wish you love)
(2:47)  8. On a Little Street in Singapore
(3:32)  9. No More Goodbyes
(4:12) 10. Hypereal
(4:23) 11. L'aigle noir
(4:11) 12. Como Fue

A fascinating and exotic entertainer, Marina Xavier is arguably one of South East Asia's most talented vocalists. Marina was born and blossomed in multi-racial Singapore. Combining natural gifts of charm and rhythm, the sultry excitement of her voice stays with listeners long after the show has ended. Success in and around Singapore was just not enough. On arrival in Europe it was the Paris Jazz & Pop scene that kept her busy.  It was not long before collaborations with celebrated and recognized artists in France sent her in a new direction. This lead to co-writing and a duet with "Les Rita Mitsouko" on their fourth album "System D" (Virgin) recorded in Paris, Morocco and New York with Tony Visconti. Marina was also a main feature on the album of the decade "DEENASTYLE" by the renowned DJ, Dee Nasty ( Universal ). 

Once again Marina shows her versatile and inimitable talent both as a singer/songwriter. This Pop/Soul sensation created massive waves all over South East Asia with her self penned English version of "MADE IN INDIA". Her 1998 album with VMP (Valentine Music Productions) has gathered her a new legion of fans. With exciting singles from the album topping the charts: DO THE DUT (dangdut) and BLAME IT ON THE BOSSA NOVA. It's no surprise how BUSCA AMOR, a latin inspired track, took Spain & Latin America by storm. Her popularity in Singapore thrives on a wide scale, be it sensuous Jazz or Pop-Soul. Catch her right now with her own international band, showcasing the exciting hits and forthcoming tracks, in a pulsating and memorable musical experience. Her last release "DENGARIN" ("The Ring A Ling Song"), a happy tale about telephone addiction, is currently enjoying Radio Play in South East Asia. It is featured on several best selling South East Asia compilations and on TALKING COCK (The Movie). 

With the release of MARINA XAVIER'S - WHEN THE WORLD WAS YOUNG" there is no doubt that jazz aficionados will find it timely and as an album that has been long awaited. With a stellar line up of musicians and a wonderful selection of tunes including the self penned "Angel"......once again rave reviews. Enjoy! In 2004, Marina released an exciting new album. "I Thought About You" once again boasts a glittering line up of fine musicians and will find its place in the exciting league of international jazz. Bio ~ http://www.marinaxavier.com/Marina/Biography.html

Where Do You Start?

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Larry Fuller - Larry Fuller

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(4:29)  1. At Long Last Love
(5:18)  2. Parking Lot Blues
(3:35)  3. Daahoud
(4:19)  4. Both Sides Now
(6:40)  5. Django
(4:57)  6. Hymn to Freedom
(5:39)  7. Reflections in D / Prelude to
(4:18)  8. C Jam Blues
(4:36)  9. Old Folks
(6:33) 10. Old Devil Moon
(6:27) 11. Close Enough for Love
(3:42) 12. Celia

Bassist Ray Brown sure knew how to pick his pianists. While each player who manned the 88s in Brown's trio displayed a different personality, all had Swiss watch timing and shared an affinity for the blues and effulgent swing. It didn't take more than a few seconds to hear that when Gene Harris was on the bench, delivering church-y proclamations and earth-shaking tremolos, and it was equally noticeable when Benny Green put his hands to good use, displaying the Oscar Peterson-esque athleticism that remains his calling card. And while there isn't very much recorded evidence to cover pianist Larry Fuller's time with Brown, it's clear that he possesses all of those traits that Brown looked for in a pianist.

Fuller's time with Brown was relatively short lasting a bit over two years, from the dawn of this century until the bassist's passing in the summer of 2002 but he made an impact on Brown's music during that time. More importantly, Brown made an impact on him. So much so, in fact, that Fuller's two leader sessions to date are essentially made from the Ray Brown Trio mold. The first Easy Walker (Pony Boy, 2005) found Fuller working with a trio that included Brown and drummer Jeff Hamilton, who worked extensively in Brown's trio and employed Fuller in his own trio during the '90s. The second this eponymous date finds Fuller delivering wonderfully showy material balanced out by thoughtful breathers. For this one, he teams up with veteran bassist Hassun Shakur and drummer Gregory Hutchinson, another Ray Brown Trio alum.

The opening salvo of "At Long Last Love," "Parking Lot Blues" and "Daahoud" immediately makes it clear that Fuller doesn't mess around. Chops, class, and in-the-pocket ensemble play are all on full display. There's plenty to marvel at on those three, with Fuller's sprinting right hand runs, commanding left hand, and mastery of independence running high on the list. And just when it seems that this is a date built on full-out swing and high-spirited romps, Fuller starts throwing change-ups. Joni Mitchell's "Both Sides Now" gives everybody a chance to calm down and reflect; "Django," starting and ending in semi-MJQ fashion, really swings in the middle; and "C Jam Blues," which follows an appropriately-measured "Reflections In D/Prelude To A Kiss," is a rollicking solo piano showcase. There's virtually nothing missing here. Looking for something poignant and romantic that still manages to move along? Try "Close Enough For Love." Want to hear some burning bop? Look no further than the album-ending "Celia," a smoking performance that gives Hutchinson some well-deserved space to shine and finds the leader in fine form. Ray Brown may be gone, but the legacy of his trio is safe in the hands of people like Larry Fuller. ~ Dan Bilawsky  http://www.allaboutjazz.com/larry-fuller-larry-fuller-capri-records-review-by-dan-bilawsky.php#.VF1gzMmHmtg

Personnel: Larry Fuller: piano; Hassan Shakur: bass; Greg Hutchinson: drums.

Larry Fuller

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Eve Cournoyer - Tempete

Size: 87,1 MB
Time: 37:07
File: MP3 @ 320K/s
Released: 2010
Styles: Pop
Label: Productions Sabot-De-Venus
Art: Front

01. Pour Survivre (3:23)
02. Taxi (2:56)
03. Je Parie (4:16)
04. Sept-Iles (3:47)
05. Hanna (3:34)
06. On A Perdu (3:59)
07. Sans S'en Faire (3:51)
08. En Avant (4:14)
09. Ayoye (3:27)
10. Tempete (3:36)

Chansonnière et technicienne sonore, Eve Cournoyer écrit, compose et réalise ses chansons depuis plus de 10 ans.

Sur ses albums, Sabot-de-Vénus (2002) et L’écho (2005), elle a gardé ce qu’elle avait enregistré chez elle pour ensuite y ajouter en studio de la basse (Maurice Williams et Fred Fortin), de la batterie (Alain Quirion et Alain Bergé) et de la guitare électrique (Jocelyn Tellier et Guy Kaye).

En grande amoureuse des mots, Eve Cournoyer cultive l’art de la phrase qui cogne et qui sonne, la mélodie qui accroche et qui reste dans la tête. Son écriture, ponctuée de double sens, navigue entre l’ombre et la lumière, tantôt engagée, tantôt drôle ou romantique.

Le fruit de sa créativité fut d’ailleurs souligné lors de la remise de deux prix remis par la SOCAN pour ses chansons Dans le bois et Tout arrive. Ève Cournoyer a aussi fait la trame sonore de deux films réalisés par François Delisle – Le bonheur c’est une chanson triste (2004) et Toi (2007).

Toujours en 2007, Ève participait au sein d’un collectif d’artistes à l’enregistrement de l’album « Le Zoo » (Orange Musique), un hommage à Jean-Claude Lauzon.

Forte de deux expériences de tournée en première partie du spectacle Kanasuta de Richard Desjardins en 2004 et 2008, Ève a aussi présenté plusieurs spectacles en groupe ou en solo dans divers festivals et salles du Québec.

Son troisième album parait le 6 mai 2010, après une longue attente. C’est à force de persévérance, de la solidarité de ses musiciens, de la passion pour la musique et des ‘’Lâche-pas té capable’’ et ‘‘Quand est-ce qu’il sort ton prochain album? ’’ que cette autoproduction fait maison voit le jour.

Toujours empreinte de cette poésie qui fait la force de ses textes, maintes fois salués par la critique et ses paires, c’est avec la détermination qu’on lui connaît qu’Eve Cournoyer signe un album (coréalisé avec Simon Dolan et mixé par Jean-Phillipe Villemure ) qui évoque les catastrophes naturelles intérieures, les rêves de voyage, la peur de la sécheresse de l’âme, l’urgence de l’éveil active de la conscience humaine et les dangers de la pollution de nos richesses.

Quand ça gronde en-dedans, que les doutes tonnent, les angoisses pleuvent, le remède réside dans l’espoir du retour du beau temps, du calme après la tempête.

Celle que Richard Desjardins a invitée en première partie de sa tournée Kanasuta s'est entourée des musiciens Rémi Leclerc à la batterie, Guillaume Bourque à la guitare et lapsteel, Étienne Morin à la guitare électrique sur Ayoye et Tempête et Simon Dolan à la basse pour graver sur disque et pour nous jouer Tempête sur une scène près de chez vous.

Tempete

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The Harry Allen-Joe Cohn Quartet - Stompin' The Blues

Size: 152,3 MB
Time: 65:21
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Mainstream Jazz
Art: Front

01. You're Driving Me Crazy (7:33)
02. I'll Get By (7:17)
03. Stompin' The Blues (5:10)
04. My Old Flame (5:00)
05. Don't Want To Have To (4:52)
06. But I Will (5:21)
07. I Only Have Eyes For Youn (9:19)
08. (I Would Do) Anything For You (8:18)
09. Medley It Might As Well Be Spring/Spring Is Here (6:27)
10. So There (5:59)

Despite his still young age, tenor saxophonist Harry Allen has released nearly 40 CDs. Even more impressive is that he plays mostly standards, and while that well is deep, there's no easy chore in making American popular songs fresh and vibrant within the mainstream. Allen accomplishes this by changing up his bands, working hard on his personalized post-Stan Getz voicings, and occasionally inviting veteran hero/musicians to his recording sessions. In this case, fellow tenor man Scott Hamilton joins the band Allen co-leads with the excellent primarily rhythm guitarist Joe Cohn, and there's a story behind the recording date. Hamilton, living in London, England, flew to the U.S. shortly after the terrorist threat there in February of 2007 and was forced to check his saxophone instead of carrying it with him on the flight, and it was badly damaged in transit. But somehow Hamilton was able to piece the hurt horn together, and he sounds as good on it as he ever has. Trombonist John Allred is another modern miracle on this effort, as his playing in accord with, opposite to, and in conversational mode with Allen is sheer genius. Why is Allred not hailed as one of the top five jazz trombonists going today? Some good swingin' music is created as Allen and Allred trade alternating choruses for the obscure "I'll Get By" and go back and forth in chat-chat mode during "I Only Have Eyes for You," while each adopts solo lines on the medley melodies of "It Might as Well Be Spring" (Allred) and "Spring Is Here" (Allen). Of the three selections with the twin tenors plus 'bone, "You're Driving Me Crazy" is as interactive as any Dixieland tune, the deep saxes take eight-bar turns for "My Old Flame," and all three horns hit a singsong groove as the cool bass of Joel Forbes and Cohn's guitar prep "(I Would Do) Anything for You." Of the originals penned by Allen, "Don't Want to Have To" evokes a Gerry Mulligan or Dave Brubeck/Paul Desmond classical jazz stance moving forward, wryly followed by the just fine swing of "But I Will." The title track is a basic romping, bopping 12-bar blues, while the end game piece, "So There," has Allen and his band syncopatin' as hard as he ever has. This is yet another complete, effervescent, solid session for Allen. It's also a treat to read the liner notes by Herb Wong. Any jazz fan can receive special insight reading what Dr. Wong has to say. ~Review by Michael G. Nastos

Stompin' The Blues

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Brook Benton - A Jammin' Christmas Time

Size: 74,7 MB
Time: 31:43
File: MP3 @ 320K/s
Released: 2014
Styles: Blues Soul, Holiday
Art: Front

01. Beautiful Memories (3:01)
02. Christmas Makes The Town (2:37)
03. Child (3:17)
04. I Wish Everyday Could Be Like Christmas (2:53)
05. Merry Christmas All (2:36)
06. Blue Decorations (3:32)
07. I've Got The Christmas Spirit (3:56)
08. Decorate The Night (3:26)
09. This Time Of The Year (2:36)
10. When A Child Is Born (3:45)

Silky smooth: that was Brook Benton's byword from his first record to his very last, as the singer parlayed his rich baritone pipes into seven number one R&B hits and eight Top Ten items. Stints on the gospel circuit preceded Benton's first secular session for Okeh in 1953, but his career didn't begin to take off until he teamed with writer/producer Clyde Otis. Benton co-wrote and sang hundreds of demos for other artists before frequent collaborator Otis signed his friend to Mercury; together they pioneered a lush, violin-studded variation on the standard R&B sound, which beautifully showcased Benton's intimate vocals.

Benton crashed the top spot on the R&B charts in early 1959 with his moving "It's Just a Matter of Time," then rapidly encored with three more R&B chart-toppers: "Thank You Pretty Baby," "So Many Ways," and "Kiddio." Pairing with Mercury labelmate Dinah Washington, their delightful repartee on "Baby (You've Got What It Takes)" and "A Rockin' Good Way" paced the R&B lists in 1960.

The early '60s were a prolific period for Benton, but he left Mercury a few years later and bounced between labels before reemerging with the atmospheric Tony Joe White ballad "Rainy Night in Georgia" on Cotillion in 1970. Benton later made a halfhearted attempt to cash in on the disco craze, but his hitmaking reign was at an end long before his death in 1988.

A Jammin' Christmas Time

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Shelley Neill - The Currency Is Heat

Size: 91,8 MB
Time: 39:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Old Love (8:17)
02. I Fall To Pieces (4:32)
03. La La La Means I Love You (5:48)
04. Up On The Roof (4:25)
05. Hit The Road Jack (4:16)
06. Crazy (5:06)
07. Half Moon (2:50)
08. At Last (4:16)

Hypnotic interpretations of songs by Eric Clapton, Patsy Cline, Janis Joplin and Willie Nelson by a vocalist described as " a shadow-enfolded high priestess enticing passers-by to surrender before spellbinding song."

This is her sixth recording project with pianist Laszlo Gardony, bassist Ron Mahdi and Yoron Israel on drums - who were also her recording partners on her last release Irish Eyes Gypsy Soul - the first of two projects to take familiar songs and reinterpret them. With this new release - The Currency Is Heat - Shelley Neill takes bold steps to provide one-of-a-kind presentations of songs that are both instantly recognized and unique in their presentation.

The Currency Is Heat

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Tony Scott - Lost Tapes: Tony Scott In Germany 1957/Asia 1962

Size: 158,3 MB
Time: 68:12
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front & Back

01. Moonlight In Vermont ( 3:56)
02. The Man I Love ( 4:22)
03. Lover, Come Back To Me ( 6:54)
04. You Go To My Head (Take 2) ( 8:22)
05. Blues ( 4:16)
06. A Night In Tunisia ( 4:22)
07. There Will Never Be Another You (10:26)
08. Blues For Charlie Parker ( 4:50)
09. Hong Kong Jazzclub Blues ( 8:02)
10. All The Things You Are ( 6:08)
11. Moonlight In Vermont ( 6:30)

Clarinetist Tony Scott wasn't a fan of vibrato. Adding it would only have smoothed out his sound and landed him in the shadow of Artie Shaw and Buddy DeFranco. Instead, he preferred to stand out with a hoarse, stripped down, high-register tone. To the uninitiated, Scott could sound sour and breathless, like someone who hadn't yet fully mastered the complications of the instrument. But once you're acclimated to Scott's approach, you will find much to admire in his style, and you'll crave his textured, uneven delivery.

If you dig Scott as much as I do, you'll be gratified to learn that Tony Scott: Lost Tapes, Germany 1957 and Asia 1962 (Jazzhaus) is out this week. The album of previously unreleased material features Scott recording in a studio and on stage in Stuttgart, Germany, in 1957, and in performance in Hong Kong and Singapore in 1962. These recordings are notable because we get to hear Scott in Germany at the height of his Down Beat critics' poll prowess in the late 1950s. We also hear Scott just before he abandoned jazz for six years to focus on New Age and World music.

His recordings in Germany with local sidemen are divided among cool and spirited. The studio ballads like The Man I Love, Lover Come Back to Me and You Go to My Head are haunting while the live material is up-tempo and gripping, particularly a hyperactive A Night in Tunisia, There Will Never Be Another You and All the Things You Are. The album's last four tracks were recorded live in Asia with Italian musicians. Three of the songs—Blues for Charlie Parker, Hong Kong Jazzclub Blues and All the Things You Are—sizzle with instrumental daring. On Moonlight in Vermont, the last track recorded in Singapore, we hear a gorgeous version of the standard, which makes for a nifty contrast with the album's first track—the exact same tune recorded five years earlier in Germany. Turns out they're both hip for different reasons.

Following the 1962 recordings, Scott would go off in other musical directions until 1968. During this period, he recorded Music for Zen Meditation (1964), Djanger Bali: Tony Scott and the Indonesian All Stars (1967), Atmospheric Conditions Permitting (1967) and Music for Yoga Meditation and Other Joys (1968).

Scott died in 2012. ~by Marc Myers

Lost Tapes

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Jo Jones - The Jo Jones Special

Bitrate: 320K/s
Time: 40:46
Size: 93.3 MB
Styles: Swing, Contemporary jazz
Year: 1955/2010
Art: Front

[5:49] 1. Shoe Shine Boy (First Take)
[6:29] 2. Lover Man
[4:47] 3. Georgia Mae
[3:58] 4. Caravan
[7:44] 5. Lincoln Heights
[6:40] 6. Embraceable You
[5:15] 7. Shoe Shine Boy (Second Take)

Bass – Walter Page; Guitar – Freddie Greene; Piano – Count Basie, Nat Pierce; Tenor Saxophone – Lucky Thompson; Trombone – Benny Green; Trumpet – Emmett Berry. Recorded in New York City, August 11 & 16, 1955.

This was the first album “the man who plays like the wind” did as a leader. On four of the numbers he fronted a septet with Nat Pierce on piano. Soloists Benny Green and Emmett Berry are excellent, but if one hornman especially excels here is tenor Lucky Thompson, one of the most unjustly neglected artists in jazz. On the two magnificently robust takes of Shoe Shine Boy, the guest pianist is Count Basie, thereby reuniting, for the first time in eight years, what was the greatest rhythm section in jazz. On Caravan, there were some changes on the line-up of the septet, but throughout all the sides, the uniting personality is Jo, a master of flowingly musical jazz drumming.

The Jo Jones Special

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