The Drifters - Drifters Anthology 7 - I'll Take You Where The Music's Playing

Styles: Soul
Year: 1996
File: MP3@224K/s
Time: 52:13
Size: 85,1 MB
Art: Front

(2:42)  1. I'll Take You Where The Music Playing
(3:02)  2. Nylon Stockings
(3:00)  3. We Gotta Sing
(3:00)  4. Up In The Streets Of Harlem
(2:31)  5. Memories Are Made Of This
(2:23)  6. You Can't Love Them All
(3:08)  7. Aretha
(2:30)  8. Baby What I Mean
(2:45)  9. Ain't That The Truth
(3:10) 10. Up Jumped The Devil
(2:13) 11. Still Burning In My Heart
(2:17) 12. I Need You Now
(2:25) 13. Country To The City
(2:34) 14. Your Best Friend
(2:46) 15. Steal Away
(2:17) 16. Black Silk
(2:29) 17. You Got To Pay Your Dues
(2:59) 18. Be My Lady
(3:50) 19. It Takes A Good Woman

The current line up continues the legacy. In 2009 the brand was re-aligned with its former label Atlantic Records / Rhino with four new releases. The first in over 35yrs on an album dedicated to the late Johnny Moore ‘Five Decades and Moore’ In 2014 the brand was re-aligned with its former label Sony Music with the first new release in over 30yrs on the ‘Up on the Roof’ album which went gold.

The current band features:
Michael Williams (2006 – Present) - Michael performed for the first time in the main line up in 2006 whilst an understudy. Later that year he became a full member and is currently the longest serving member in the current line up. Michael performed on the Gloria Gaynor Tour in 2008, at The O2 with The Drifters Legends in 2009 and at The Four Tops and Temptations UK Arena Tour in 2010, whilst continuing his solo career alongside his role within The Drifter’s line up and the Prism Music Group production Boys.  http://www.theofficialdrifters.com/the-group/

Ryan King (2009 – Present) - Ryan King joined the current line up at the end of 2009 after one year as an understudy. During his time in the line up he has performed on the 2010 UK Arena Tour with The Four Tops and The Temptations. Ryan continues in a managerial capacity within Prism Music Group alongside his role within the current line up, working on development of the company brands.

Daniel Bowen-Smith (2013 – Present) - Daniel joined Prism Music Group in 2013 becoming a lead singer in the production Unforgettable whilst training as an understudy with The Drifters. Daniel is currently on his first official tour as a member of the current line up on the Optimum World Tour 2014. Daniel continues performing in the production Unforgettable alongside his role in The Drifters. Daniel is currently working on the Prism Music Group production Unforgettable.

Damion Charles (2008 – Early 2010, Late 2011 – 2012 & 2014 – Present) - Damion joined The Drifters line up in 2008 after a year as an understudy. Having performed in the line up on the Gloria Gaynor Tour in 2008,  at The O2 with The Drifters Legends in 2009 and at the Four Tops and Temptations UK Arena Tour in 2010. Damion has come in and out of the line up whilst recording and performing as a solo artist. Damion is currently working in the Prism Music Group production Boys alongside Michael Williams and Jerome Bucknor (Drifter’s understudy).

Jerome Bucknor (Understudy) (Late 2013) – Present Jerome is the current understudy of The Drifters, replacing Daniel Bowen-Smith. He is a vocal coach alongside his other roles within Prism Music Group. He is currently touring on The Drifters Optimum World Tour as a part of The Drifters band on percussion and backing vocals. He performed in the main line up in June 2014 when Damion Charles had severe tonsilitus.

Drifters Anthology 7 - I'll Take You Where The Music's Playing

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Judi Silvano - Let Yourself Go

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 68:55
Size: 158,4 MB
Art: Front

(6:03)  1. Let Yourself Go
(6:05)  2. Let's Fall In Love
(7:36)  3. Why Do I Love You
(3:14)  4. I'm In The Mood For Love
(7:26)  5. I Only Have Eyes For You
(6:27)  6. When I Fall In Love
(6:38)  7. I Could Write A Book
(7:13)  8. I Love Paris
(7:03)  9. Our Love Is Here To Stay
(4:55) 10. Goodbye
(6:12) 11. Ev'ry Time We Say Goodbye

Vocalist Judi Silvano's Let Yourself Go makes me long for the day when jazz was America's popular music. If that were the case today, this disc would sell a million copies and score three or four top ten radio hits. But it's a new pop song millennium, and the jazz recordings are pushed into the back racks the general listening public's loss; the discerning and resolute jazz fan's gain. Silvano is probably best known for her adventurous vocalise on recordings like the Joe Lovano/Gunther Schuller record Rush Hour (Blue Note, '95), Lovano's Celebrating Sinatra (Blue Note, '97), or the more obscure but excellent Fourth World (Between the Lines, '02) by guitarist James Emery. In the past few years she's also released two first rate sets of her own, Songs I Wrote or Wish I Did (JSL Records, '00) and a duet set with the late pianist Mal Waldron, Riding a Zephyr (Soul Note, '02). The vocalist truly let's herself go here, within the ever-malleable constraints (or are there constraints?) of some familiar time-tested standards; and she's never sounded better, freer and more ebullient in her music-making. 

The set opens with the title tune, an Irving Berlin song featuring clever lyrics ("Come on get together, Let the dance floor feel your leather, Step as lightly as a feather...") and a swinging arrangement (Michael Abene) sliced through with angular piano jabs (Abene, again) and Silvano's soaring vocals, sometimes freewheeling, sometimes gorgeously controlled. Throughout here, I'm reminded of Ella Fitzgerald's Cole Porter Songbook discs; the attitude's the same, and Judi scats all over the place, with a different, smoother flow but a sound no less compelling than Ella's. Throw in the contemporary arrangements and more truly stellar solo slots than you can count on two hands Ingrid Jensen's muted trumpet on Jerome Kern's "Why Do I Love You," Akua Dixon's cello slot and Roger Rosenberg's bass clarinet on Cole Porter's "I Love Paris," Dick Oatts' alto solo on Rodgers and Hart's "I Could Write a Book," or Dan Silverman's trombone work on "When I Fall in Love"; or Jamie Baum's alto flute turn on "Every Time We Say Goodbye." I mentioned Ella's Cole Porter Songbook discs, but there seems a parallel between Let Youself Go and some of those marvelous Frank Sinatra albums from the fifties, too. Songs for Young Lovers , Songs for Swingin' Lovers , Come Fly With Me. As a vocal effort, it's that good; in terms of the level of artistic craftmanship all around, it's that good too. 

I hesitate to single one out of such a classic set, but Cole Porter's "I Love Paris" keeps getting the repeat button treatment, with Akua Dixon's cello, a sweet and slightly frictional drag across the strings contrasting the perfect smooth flow of Silvano's voice; then cello giving way to the rich deeper tones of the bass clarinet that slinks its way in and out of Judi's cool scatting. Wonderful! Let Yourself Go was conceived and produced as a gift from Judi Silvano for her 80-year-old mother, Miriam, so it seems fitting to use a high compliment in usage in Miriam's youth here. Judi Silvano's Let Yourself Go : It's just the cat's pajamas! ~ Dan McClenaghan  http://www.allaboutjazz.com/judi-silvano-let-yourself-go-by-dan-mcclenaghan.php

Personnel: Judi Silvano - vocals; Michael Abene - piano, arrnager, conductor; Rufus reid - bass; Newman Taylor-Baker - drums; Dick Oatts - alto and soprano saxophones; Ingrid Jensen -  trumpet and flugelhorn; Mayra Casales - percussion; Roger Rosenberg - bass clarinet and baritone saxophone; Akua Dixon - cello; Jamie Baum - alto flute; Nita Goodgal - background vocals.

Let Yourself Go

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Joe Sullivan - If You Can't Be Good, Be Careful

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 67:44
Size: 155,0 MB
Art: Front

(3:31)  1. Breezin'
(2:53)  2. My Silent Love #1
(2:51)  3. What's Your Name
(3:22)  4. The Moon Is Low
(3:14)  5. Heavy Laden
(2:37)  6. Reflections
(3:04)  7. I Got It Bad (And That Ain't Good)
(3:11)  8. High Dudgeon
(2:23)  9. There'll Come a Time When You'll Need Me
(2:51) 10. Squeeze Me
(2:17) 11. Never Heard of Such Stuff
(2:03) 12. Can't We Get Together
(2:54) 13. The Bass Romps Away
(2:58) 14. Brushin' Off the Boogie
(3:03) 15. 24 Hours At Booth's
(3:03) 16. My Silent Love #2
(2:51) 17. Memories of You
(3:27) 18. If You Can't Be Good, Be Careful
(2:59) 19. Solid Eclipse
(3:01) 20. It's the Talk of the Town
(2:54) 21. Night and Day
(3:05) 22. Deep Purple
(2:59) 23. An Armful of You

One of the great Earl Hines' disciples (along with Jess Stacy), Joe Sullivan's style was perfect for the freewheeling jazz of Eddie Condon's bands. Sullivan graduated from the Chicago Conservatory and was an important contributor to the Chicago jazz scene of the 1920s. He was in New York during the next decade and his solo recordings include an original ("Little Rock Getaway") that would become a standard. In 1936, Sullivan joined Bob Crosby's band, but tuberculosis put him in the hospital for ten months and Bob Zurke replaced him (having a hit with "Little Rock Getaway!"). However, Sullivan recovered, led his own record dates, and was involved in a lot of jam sessions with the Condon gang in the 1940s. By the 1950s he was largely forgotten, playing solo in San Francisco and drinking much more than he should. Despite an occasional recording and a successful appearance at the Teagarden family reunion at the 1963 Monterey Jazz Festival, Sullivan's prime years were long gone by the time he passed away. Bio ~ https://itunes.apple.com/us/artist/joe-sullivan/id1579698#fullText

If You Can't Be Good, Be Careful

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Kevin Mahogany - Songs & Moments

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 64:52
Size: 148,9 MB
Art: Front

(4:20)  1. The Coaster
(3:46)  2. Jim's Ballad
(3:33)  3. Take the A Train
(6:03)  4. One Minute to Zero/ When I Fall in Love
(5:26)  5. West Coast Blues
(5:08)  6. City Lights
(6:11)  7. Night Flight
(4:54)  8. Next Time You See Me
(5:34)  9. Songs and Moments
(9:41) 10. Caravan
(5:30) 11. My Foolish Heart
(4:42) 12. Red Top

In the 1990s there has been a serious shortage of male jazz singers under the age of 60, making Kevin Mahogany's "arrival" in his second Enja release quite noteworthy. A strong improviser who cannot only scat creatively but uplift lyrics, Mahogany may very well end up as a future pollwinner. He is joined on this CD by a six-piece horn section and a strong rhythm section (pianist John Hicks, bassist Ray Drummond, and drummer Marvin "Smitty" Smith), plus there are guest appearances by altoist Arthur Blythe and guitarist Kevin Eubanks. The material (which includes Cedar Walton's "Night Flight," "Caravan," "When I Fall in Love," and the title cut by Milton Nascimento) is challenging and diverse. ~ Scott Yanow  http://www.allmusic.com/album/songs-and-moments-mw0000122709

Personnel: Kevin Mahogany (vocals); Kevin Eubanks (guitar); Phil Brenner (flute, soprano saxophone); Willie Williams (clarinet, saxophone, tenor saxophone); Steve Wilson (clarinet, alto saxophone); Gary Smulyan (clarinet, baritone saxophone); Phil Breener (saxophone); Arthur Blythe (alto saxophone); Michael Philip Mossman (trumpet); Robin Eubanks (trombone); John Hicks (piano); Ray Drummond (bass instrument); Marvin "Smitty" Smith (drums).

Songs & Moments

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Wendy Bradshaw - Evening Interlude

Size: 99,7 MB
Time: 41:27
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals
Art: Front

01. My Foolish Heart (4:53)
02. Route 66 (5:14)
03. My Funny Valentine (3:49)
04. Lullaby Of Birdland (3:18)
05. Besame Mucho (4:21)
06. My Romance (4:26)
07. Cry Me A River (4:02)
08. Puttin' On The Ritz (3:18)
09. Spring Is Here (2:53)
10. Peel Me A Grape (5:09)

WENDY Jo BRADSHAW - NATIVE AMERICAN MUSIC AWARDS NOMINEE (NAMMY) for her song,
A Great Gift. Wendy is an accomplished Singer-Songwriter-Author.
In her recording, Evening Interlude “Wendy’s sultry, smooth voice takes you on a journey through favorite jazz classics” Evening Interlude -- Arranged by & featuring Lex de Azevedo on piano. Recorded by Heath McBee and Matthew Montoya at Spirit West Recording Studios. All original songs produced and arranged by Wendy Jo Bradshaw. “Wendy’s music is soul-stirring, & haunting, her voice lets you feel the music & leaves you wishing for more.”

“I was motivated early in my career by a fortuitous encounter with the great singer/songwriter Barry Manilow, who picked me from an audience of over 12,000 fans to sing on stage with him. It was a moment that will remain for me –life changing.” Wendy Bradshaw

Her original compositions and recordings include Magic Forrest Treasure, A Great Gift, Sacred Fire and various Children's Songs that accompany her Vippi Mouse Children's book series.

Evening Interlude

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Oliver Lake - Makin' It / What I Heard

Album: Makin' It
Size: 118,1 MB
Time: 51:14
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Funk/Groove
Art: Front

01. In Walked John (6:56)
02. Gano (1:31)
03. Say Girl (5:35)
04. Spirit Of Man (5:59)
05. Nu Peace (5:23)
06. Move Groove (3:35)
07. Makin' It (8:16)
08. Dedicated To B. C (5:15)
09. Olla's Blues (Feat.Oliver Lake) (2:17)
10. I Want To Walk With Jesus (6:23)

This album finds alto saxophonist Oliver Lake in a groovesome incarnation, less disposed than usual towards avant exploration. He's utilizing the classic Hammond organ construction, though without any guitarist in sight. It's just Lake, B3 man Jared Gold and drummer Johnathan Blake, getting pretty close to the expectations of a '60s formula, though still surprising with a few sideways tweaks. The session is produced by Lake's son Jahi, capturing a fully pulsing sound throughout, solid, warm and fruity.

"In Walked John" makes a bold opener, the first of two numbers written by the departed Chicagoan trumpeter Malachi Thompson, establishing the tones to come with its typical trundle. All of the other tunes are scribed by Lake himself, besides the traditional gospel conclusion "I Want To Walk With Jesus." "Gano" follows, beginning with an insistent fanfare figure that gives way to a walking groove. Gold's solo is percussively spiky, then Lake's alto is in its bluesiest state for "Say Girl," soulfully singing over Blake's skipping beats.

Lake repeatedly nudges the edges of free playing, but within a context of linear body-nodding. Gold's foot-pedal basslines sound completely separated from the mind that's operating the upper keys, which is a positive factor, effectively creating a phantom band member who achieves some remarkably low notes. "Move Groove" states its ambulatory, circling theme, jittery drumwork making way for the agitated organ spillage of the title cut, as the leader continues his wiry alto contortions. "Dedicated To B.C." is the most conventionally jazz-funkin' piece (almost too much so) and the finger-clickin' "Jesus" heads towards a steaming climax. This is Lake as he's rarely heard and offers a refreshing alternative to his mostly out-there output. ~Martin Longley

Personnel: Oliver Lake: alto saxophone; Jared Gold: Hammond B3 organ; Johnathan Blake: drums..

Makin' It

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Album: What I Heard
Size: 122,0 MB
Time: 52:45
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Funk/Groove
Art: Front

01. 6 & 3 (5:58)
02. What I Heard (7:40)
03. Palma (7:56)
04. Cyan (6:35)
05. Root (4:18)
06. Human Voice (5:07)
07. Lucky One (7:08)
08. Etc (5:22)
09. Thank You (2:39)

Alto saxophone titan Oliver Lake has enjoyed an interesting, varied career even strictly within the confines of the World Saxophone Quartet he co-founded with Julius Hemphill, David Murray and Hamiet Bluiett, and it gets even more so when examining his works as a leader. It seems that the only constant for Lake is his unquenchable thirst for trying out new approaches to jazz.

His latest angle was hatched in the late 00s with the Oliver Lake Organ Trio that included Jared Gold (Hammond B3) and Jonathan Blake (drums), and they issued a single album, Makin’ It (2008) before the trio became a quartet with the addition of trumpet ace Freddie Hendrix for 2010’s Plan. It appeared as if Lake had already moved on from this concept with forays into big band and a more traditional acoustic small combo, but What I Heard (November 18, 2014, Passin’ Thru Records) is a clear signal that Lake ain’t done with the organ just yet.

A small combo featuring the Hammond B3 led by most anybody else wouldn’t be such a big deal — so much of organ jazz is groove-laden but also predictable — but this is Oliver Lake we’re talking about, here. The thing about Lake both as a composer and performer is that it’s clear he draws from blues, bop, RnB and avant-garde, but his music can’t be comfortably described as any of those things. So it goes for What I Heard, which brings back Gold and Hendrix, and Blake replaced by Chris Beck.

“6 & 3? sets the template for all the blessed eccentrics that grace this album: A labyrinthine pattern underpinned by Beck’s mutated bossa nova rhythm is expressed by angular unison trumpet/sax phrasings, as the organ and horns occupy different areas of the harmony. The solos section is signaled by an unexpected shift, in this case, a pause and a drum roll (on other songs, the theme alters and/or the beat). Lake’s expressions skirt the fringes of tonality and sometimes cross over, but whether he’s “in” or “out” he’s is himself and no one else. Hendrix’s detached manner works as an effective counterpoint to Lake, but his tone also pierce through sometimes to maintain the intensity.

“Human Voice” has a similarly esoteric structure, but even more jagged in how the song jumps from one root and rhythm to another and jumps right back. Just as you think Lake & Co. has settled into a predictable pattern, they fake you out. “Etc” features a new twist on the ol’ call and response device, countering Gold’s B3 expressions with sax/trumpet simultaneous solo counterpoints. Beck’s dynamic

Lake might be the cornerstone for this highly peculiar kind of organ jazz, but discount the contributions of the organ player himself. Jared Gold acts as a perfect extension of Lake’s singular sax approach, and the irregular patterns in which he places chords in opposition to Hendrix and Lake do much to create an uncommon sound from such a common format. He’s cerebral, coy playing works the spaces between the notes with a deftness usually reserved for the best horn players. His sharp sense of phrasing alters the harmonics of the aforementioned “6 & 3,” and he contributes to an intriguing syncopation on “Palma.” When he solos as he does on “What I Heard,” it’s much more akin to Larry Young than Jack McDuff. This is the Jared Gold who knocked it way out of the park on his own similarly conceived All Wrapped Up.

Throughout this record, Lake strikes a careful balance between the tonal and atonal, between swing and freeform jazz, but “Cyan” is a walk nearly entirely outside. What begins as a glowing, probing ballad erupts into a free-for-all about eighty seconds in and doesn’t let up. What is striking though, is that all four remained closely attuned to each other.

Oliver Lake’s four-decade legacy of striking his own path serves him well on his third recent organ excursion. That he can still make records that tower above nearly all of his contemporaries in terms of originality and freshness in 2014 should remind jazz aficionados that when considering the diminishing list of living sax legends, it’d be foolish to leave him off. ~S. Victor Aaron

What I Heard

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Olivia Castle - Siren Song

Size: 101,7 MB
Time: 44:04
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Somewhere Over The Rainbow (4:32)
02. Makin' Whoopee (2:33)
03. Misty (3:57)
04. The Nearness Of You (2:51)
05. Under My Skin (2:39)
06. Summertime (2:39)
07. Hard Hearted Hannah (3:03)
08. That Ole Devil Called Love (3:07)
09. They Can't Take That Away From Me (2:35)
10. Embraceable You (2:30)
11. Bewitched, Bothered And Bewildered (5:07)
12. Cheek To Cheek (2:50)
13. My Funny Valentine (2:51)
14. In The Wee Small Hours Of The Morning (2:43)

Olivia Castle is a UK Jazz vocalist who has just released her debut album ‘Siren Song’. She has had a love of Jazz standards, American Songbook and Easy Listening repertoire since growing up watching her mother perform with a Jazz trio. It was only recently that Olivia discovered the full extent of her family’s history of Jazz performance, learning that her Romanian great-grandfather put together a Jazz band that toured around Europe during the 1920’s. The Padureano Jazz band performed regularly in Madrid and Paris, frequently entertaining the aristocracy and the Spanish Royal family. This Jazz heritage within her family has cemented her love for this kind of music.
Olivia has recently graduated with a first class honours degree in Drama and Theatre from Royal Holloway, University of London. Whilst at university her musical activities involved being a Choral Scholar in the much-acclaimed Chapel Choir, taking on multiple theatrical roles such as Mabel in ‘The Pirates of Penzance’ and singing with the university Big Band.
Olivia was runner-up in the BBC Radio 2 Chorister of the Year final, held at St Paul’s Cathedral in 2008, performing to a panel of judges which included Carrie Grant and Hayley Westenra, and an audience of 1500 in addition to the radio listeners. During this period Olivia also featured as a guest on two BBC Radio Suffolk shows. As part of the National Youth Choir of Great Britain she was privileged to perform at the BBC Proms at the Royal Albert Hall with greats like Daniel Barenboim and Gustavo Dudamel for two consecutive years, in 2011 and 2012. In 2011 she was also awarded the Diploma in Musical Theatre (dipGSA) from the Guildford School of Acting and completed her Grade 8 Singing, achieving a high distinction.
Over the past few years she has been fortunate to perform with the legendary Laurie Holloway and his trio, and the Malcolm Edmonstone trio through the Montgomery Holloway Trust, a summer school which trains up-and-coming young Jazz musicians. She also performs regularly with the celebrated composer Denis King, whom Olivia met whilst performing as Dorothy in a production of ‘Wizard of Oz’, where Denis was the musical director. This production was particularly special to her and it is for this reason that the Judy Garland classic ‘Somewhere Over the Rainbow’ features on the album.


“The best vocalist I've played for, for a long time… She is a wonderful singer. A class act!” Laurie Holloway
“Her delightful voice combined with an extraordinary musicality is a joy to be around” Denis King

Siren Song

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Paul Grabowsky - Solo

Size: 155,5 MB
Time: 67:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz, Contemporary Jazz
Art: Front

01. Angel ( 8:47)
02. October ( 5:55)
03. 'round Midnight (10:38)
04. The Last King Of Poland ( 4:39)
05. The Happy-Go-Lucky Country ( 6:31)
06. Cole For Cook ( 6:32)
07. Stars Apart ( 6:52)
08. The Bean ( 4:14)
09. Helix ( 6:34)
10. I Get Along Without You Very Well ( 6:38)

Despite a long and distinguished career, Paul Grabowsky has never released a solo piano album. Until now...

Armed with only his hands and a grand piano, the virtuosic Australian pianist Paul Grabowsky re-imagines a number of his own compositions for solo piano. He also brings to the table the Hoagy Carmichael classic 'I Get Along Without You Very Well' and Monk's 'Round Midnight.' The album is dedicated to Grabowsky's former piano teacher, Mack Jost, and was recorded at the ABC's Iwaki Auditorium in Melbourne for Jazz Up Late with Gerry Koster.

Solo 

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Susan Wong - Woman In Love

Size: 115,9 MB
Time: 49:36
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Woman In Love (3:41)
02. I Honestly Love You (3:26)
03. Chain Reaction (3:39)
04. Can't You See (I'm Falling In Love) (3:39)
05. Torn Between Two Lovers (3:49)
06. Stay (4:07)
07. Miracle Of Love (3:29)
08. Both Sides Now (5:32)
09. Make You Feel My Love (3:23)
10. Heartbreaker (3:29)
11. Torn (4:04)
12. Never Can Say Goodbye (3:43)
13. Just Give Me A Reason (3:29)

Woman In Love is Susan’s tribute to great women singers before her who made their fame with sensuous and endearing love songs. Woman In Love features romantic long songs old and new from Olivia Newton-John’s I Honestly Love You and Barbra Streisand’s classic Woman in Love to Rihanna’s hit Stay and Adele’s Make You Feel My Love. Woman in Love bears Susan’s signature sultry enticing vocal with fresh brilliant arrangements. The album features Susan’s original song Can’t You See (I’m Falling In Love), a heartfelt declaration of love. HQCD and SACD comes with the lovely bonus track Just Give Me A Reason.

Woman In Love is Susan’s fifth studio album with the evosound label. 2 ½ years in the making, recorded over 8 studios in 3 continents – Women in love finally releases on Dec 1st – Lovingly recorded,

Woman In Love

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Ruby Braff - Ruby Braff Sings

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 22:13
Size: 52,4 MB
Art: Front

(2:42)  1. Struttin' With Some Barbecue
(2:59)  2. Mean to Me
(2:25)  3. Ellie
(2:55)  4. You're a Sweetheart
(2:36)  5. Blue and Sentimental
(2:46)  6. Blue Room
(3:11)  7. I Can't Get Started
(2:35)  8. This Can't Be Love

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds. Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. 

But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003. Bio ~ Scott Yanow  http://www.allmusic.com/artist/ruby-braff-mn0000357057/biography

Personnel:   Ruby Braff - Trumpet,  Johnny Guarnieri - Piano, Walter Page - Bass, Bobby Donaldson - Drums.

Ruby Braff Sings

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Veronneau - Jazz Samba Project

Styles: Brazilian Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 41:00
Size: 96,1 MB
Art: Front

(4:57)  1. É Luxo Só
(5:01)  2. Waiting in Vain
(4:40)  3. September Moon
(3:20)  4. Mas Que Nada
(3:53)  5. Meditation
(2:55)  6. One Note Samba
(3:53)  7. Samba Saravah
(4:00)  8. Samba Triste
(4:48)  9. Autumn Leaves
(3:30) 10. Wave

Musical revisionists often view the outstanding Getz/Gilberto (Verve, 1963) as the point of ignition for the stateside bossa nova explosion of the early '60s, but those in the know are fully aware that Jazz Samba (Verve, 1962) is the album that actually lit the fuse. While saxophonist Stan Getz's classic recordings with Antonio Carlos Jobim, Joao Gilberto and Astrud Gilberto have taken their rightful place at the top of the heap, his earlier, trailblazing collaboration with guitarist Charlie Byrd is of greater importance in the big picture of jazz history. Byrd became enamored with Brazilian music during a State Department-sponsored tour of South America and couldn't hide his enthusiasm when he returned to America. He exposed Getz to the magical strains of sound that he encountered during this jazz junket and they joined forces to create one of the finest examples of stylistic fusion in the history of music. They put their signature sound prints atop bossa nova structures and struck a chord of interest that still resonates throughout the world today. Now, a full fifty years after Byrd and Getz joined Brazilian music and jazz in holy matrimony, Veronneau pays tribute to that triumphant teaming with its own Jazz Samba Project.

Subtle bossa nova beats, lightly strummed guitars, seductive horn work and attractive vocals are served up in sensitive fashion during this highly enjoyable program. Vocalist Lynn Veronneau and her able-bodied band mates deliver a ten-song program that honors the historic pairing of Charlie Byrd and Stan Getz but stands on its own as a separate work. Veronneau visits the past with performances of Ary Barroso's "E Luxo So," Baden Powell's "Samba Triste" and Jobim's "One Note Samba," but the group doesn't live in the past; the inclusion of a bossa-tinged take on a Bob Marley classic ("Waiting In Vain") and a gently swaying original ("September Moon") prove this point. Lynn Veronneau's easy-going vocals, whether in Portuguese, English or French, set the tone here and everybody falls in line with her measured mannerisms. While Brazilian jazz has become more buoyant and boastful over the years, Veronneau's version hearkens back to a time when less-is-more delivery and dynamic sensitivity were key elements in the architectural design of the music. This band clearly understands the nature of Jazz Samba and honors that classic recording through its own fine work. ~ Dan Bilawsky  http://www.allaboutjazz.com/jazz-samba-project-lynn-veronneau-veronneau-music-review-by-dan-bilawsky.php

Personnel: Lynn Veronneau: vocals; Ken Avis: acoustic guitar, vocals; David Rosenblatt: acoustic guitar; Pete Walby: drums; Jeff Antoniuk: tenor saxophone (1, 6, 8, 10); Alejandro Lucini: percussion; Jim McFalls: trombone (1-5, 9).

Jazz Samba Project

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Mary Foster Conklin - Blues For Breakfast

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 55:29
Size: 127,6 MB
Art: Front

(3:34)  1. Before The Show
(4:03)  2. Spring Isn't Spring Anymore
(3:40)  3. Show Me The Way To Get Out Of This World
(5:52)  4. Angel Eyes
(2:19)  5. That Tired Routine Called Love
(3:56)  6. Encanto D'Amor
(4:34)  7. Blues For Breakfast
(3:28)  8. Will You Still Be Mine
(2:47)  9. Where Am I To Go
(5:23) 10. The Night We Called It A Day
(3:45) 11. Let's Get Away From It All
(3:19) 12. Let's Just Pretend
(4:14) 13. Learn To Love
(4:30) 14. Violets For Your Furs

I don't review many albums by singers these days, but I couldn't pass up a tribute to Matt Dennis, one of the most talented and sadly neglected songwriters of the Twentieth Century. Before scoffing, remember "Angel Eyes," "Will You Still Be Mine," "Everything Happens to Me," "Violets for Your Furs," "Let's Get Away from It All," "Show Me the Way to Get Out of This World" and "The Night We Called It a Day." All were written by Dennis, who sang them (and others) for many years in nightclubs across the country while accompanying himself at the piano. To Mary Foster Conklin's credit, she doesn't rest her case on these familiar melodies but has unearthed a cache of other forgotten treasures with lyrics by Sammy Cahn, Bobby Troup, Ted Steele, Jerry Gladstone and Ginny Dennis, and performs a duet with Cuban artist David Oquendo on "Encanto d'Amor," Dennis/David Gillam's "It Wasn't the Stars That Thrilled Me" translated into Spanish by Oquendo.

Among the others, Dennis/Steele's "That Tired Routine Called Love" is especially clever, right up there with Rodgers and Hart's "Everything I've Got Belongs to You," Lerner and Loewe's "How Can Love Survive," any Cole Porter lyric, and Dennis/Tom Adair's "Let's Get Away" and "Will You Still Be Mine."  Conklin's midrange voice is sweet and expressive, her articulation clean, and she caresses each lyric with notable warmth and perception. She's not quite as irresistible as Dennis himself, but few singers, no matter how adept, have ever equaled his offhanded charm. The backup group is splendid, with pianist John di Martino doubling as arranger and saxophonist Joel Frahm making brief but welcome appearances on three tracks. Dennis/Troup's "Where Am I to Go?" is a graceful duet with guitarist Tony Romano. Conklin also sings the seldom-heard verses to "Angel Eyes," "Will You Still Be Mine" and (spoken) "The Night We Called It a Day." Conklin deserves applause for breathing life into such moribund classics as "Before the Show," "Spring Isn't Spring Anymore," "Blues for Breakfast," "Let's Just Pretend," "Learn to Love" and the other songs already cited. The album is worth hearing for them alone, even more so for Conklin's earnest and caring interpretations. Even for those who thought they knew Matt Dennis, it should be a real eye-opener. ~ Jack Bowers  http://www.allaboutjazz.com/blues-for-breakfast-remembering-matt-dennis-mary-foster-conklin-rhombus-records-review-by-jack-bowers.php

Personnel: Mary Foster Conklin: vocals; John di Martino: piano, arranger; Tony Romano: guitar; Sean Smith: bass; Ron Vincent: drums; Joel Frahm (1,3,13): tenor, soprano saxophone; Wilson "Chembo" Corniel (3,6): percussion; Leo Traversa (3,6): electric bass; David Oquendo (6): vocal, lyrics.

Blues For Breakfast

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Joe Magnarelli - Mr. Mags

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 53:08
Size: 122,1 MB
Art: Front

( 5:20)  1. 215 #1
( 8:19)  2. Our Song
( 5:38)  3. Passage
( 7:16)  4. I Should Care
( 5:54)  5. Mean What You Say
( 5:01)  6. Oh' Suzanne
(10:45)  7. Blue Opus
( 4:50)  8. Mississippi Jazz Club

At a time when many contemporary jazz trumpeters seem to be pushing to the extremes (i.e. Russell Gunn’s rap/world beat groove or Dave Douglas’ avant stance), a player like Joe Magnarelli might seem more like a throw back to the past. A great reader and reliable sideman, Magnarelli can run down the bebop or blow pretty, depending on what the situation calls. He also possesses a crisp and burnished tone that is immediately attractive. But it would be unfair to suggest that the trumpeter is stuck in a time warp. More accurately, Magnarelli excels in the mainstream tradition and has found his own voice within such structures. His third set as a leader for Criss Cross, Mr. Mags is certainly nothing radically different from past endeavors, yet it offers further sustenance in an area where swing and melodic integrity are at a premium. 

Pacing is particularly strong, as the rapid “215 #1” (Coltrane’s “Countdown” seems to be an inspiration here) gives way to the lilting waltz tempo of “Our Song.” Pure bebop marks Jim Snidero’s “Passage,” “I Should Care” provides for Magnarelli’s ballad feature, “Oh, Suzanne” is a Latin romp, and “Blue Opus” taps, of course, the blues. It’s not often these days that we hear a trumpet-alto sax front line, so the pairing of Magnarelli and Snidero seems like a very sagacious choice. So too, pianist David Hazeltine puts his stamp on the proceedings with his advanced sense of harmony. So if your tastes run toward the adventurous this may not cut it for you, but those with middle-of-the-road sensibilities will find much to sink their teeth into. ~ C.Andrew Hovan  http://www.allaboutjazz.com/mr-mags-joe-magnarelli-criss-cross-review-by-c-andrew-hovan.php
 

Personnel: Joe Magnarelli (trumpet), Jim Snidero (alto sax & flute), David Hazeltine (piano), John Webber (bass), Tony Reedus (drums)

Mr. Mags

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Ben Sidran - Mr. P's Shuffle

Bitrate: 320K/s
Time: 56:38
Size: 129.6 MB
Styles: Smooth jazz
Year: 1996
Art: Front

[5:29] 1. I'm Back
[4:31] 2. Like A Boat On The Water
[5:24] 3. Sentimental Journey
[4:51] 4. Get Happy
[5:16] 5. Jive Samba
[3:58] 6. I'm Not Talking
[2:25] 7. The Glory Of Love
[4:33] 8. Mr. P's Shuffle
[3:40] 9. Walk Right In
[8:21] 10. Lover Man
[4:02] 11. No Moon At All
[4:01] 12. Memory Lane

When I was a young man of 20, I played six nights a week for a period of several months at at club called The Tuxedo Lounge, one of the warmest musical environments I have known; several decades later, the club had changed its name to Mr. P's Place and I started playing there again; this recording is a document and a testament to that spirit of groove and return.

Ben Sidran - Piano, Vocals; Frank Morgan - Saxophone; Richard Davis - Bass; Clyde Stubblefield - Drums; Phil Upchurch - Guitar; Roscoe Mitchell - Saxophone; Ricky Peterson - Organ; Howard Levy Harmonica; Margie Cox - Vocals; Alejo Poveda - Percussion; Leo Sidran - Drums.

Mr. P's Shuffle

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Rich Perry & Harold Danko - Cancoes Do Brasil

Bitrate: 320K/s
Time: 67:06
Size: 153.6 MB
Styles: Saxophone jazz, Piano jazz
Year: 1999
Art: Front

[ 6:37] 1. Canto Triste
[ 9:10] 2. Cafe
[ 7:54] 3. Beijo Partido
[ 7:46] 4. A Tarde
[ 5:35] 5. Choro Das Aguas
[ 7:36] 6. Leila (Venha Ser Feliz)
[ 5:09] 7. Memoria E Fado
[ 7:09] 8. Hora E Lugar
[10:07] 9. Folhas Secas

On this unusual recording, we find two widely experienced North American jazzmen, tenorman Rich Perry and pianist Harold Danko, embracing nine pieces by Brazilian composers that seem to have come about independently of the bossa nova movement. As a matter of fact, so as to emphasize the uniquely lyrical quality of this material, Perry and Danko eschewed the support of a conventional Latino or even jazz rhythm section. Using all of the freedom inherent in a duo setting, they engage Edu Lobo's "Canto Triste," Egberto Gismonti's "Cafe" and "Memoria E. Fado," Toninho Horta's "Beijo Partido," Francis Hime's "A Tarde" and "Hora E. Lugar," Ivan Lins' "Choro Das Aquas," Milton Nascimento's "Leila, Venha Ser Feliz," and Nelson Cavaquinho's "Folhas Secas" as if to the manner born. Presumably not designed for dancing, this music is nevertheless subtly rhythmic and in a sense almost hypnotic in its charm.

Perry has a warm, compelling tone, which, at least here, adds an attractively fuzzy edge to what sounds like an essentially Getzian approach to tenor timbre, while Danko's touch, melodic phrasing, and apparent disuse of root voicings suggests the influence of Bill Evans. Together, they make for a very handsome couple, and especially so when wearing these graceful threads. ~Jack Sohmer

Canções Do Brasil

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Melissa Walker - I Saw The Sky

Bitrate: 320K/s
Time: 60:41
Size: 138.9 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[4:09] 1. You Were Never Lovelier I'm Old Fashioned (Arr. C. Penn) I'm Old Fashioned
[6:11] 2. Some Other Time
[4:47] 3. Nothing Ever Changes My Love For You
[5:38] 4. My Shining Hour
[4:47] 5. I Saw The Sky
[4:44] 6. Twilight Song
[6:19] 7. I Get Along Without You Very Well
[4:15] 8. Let's Take An Old Fashioned Walk
[5:05] 9. The Face I Love
[8:29] 10. Return To Me
[6:11] 11. I'm In Love

I Saw the Sky is Melissa Walker's third release for Enja Records and features 11 compositions penned by notable songwriters from a vast array of musical styles. From standards by the great Irving Berlin, Jerome Kern, and Johnny Mercer to originals by Walker, Nina D'Alessandro, Kenny Barron, Shedrick Mitchell, and Andrew "Tex" Allen, the music selected for this CD provides an excellent vehicle for Walker's vocal prowess. She attracts your attention immediately with her impeccable phrasing and resonance that is reminiscent of a young Sarah Vaughan on "I'm Old Fashioned." Kenny Barron's solo adds a nice touch of piano magic to Clarence Penn's arrangement. Together, they take this song off of memory lane and turn it into a great 21st century jazz experience. Walker's interpretation of "Some Other Time" is beautiful. She floats through this song with ease as Larry Willis' signature string arrangement adds another layer of emotion to Walker's lovely vocals and her ability to hold a note effortlessly through the fade. "Return to Me" is a sensitive ballad that evokes passionate memories. Walker's voice surrounds the lyrics with tenderness and that special feeling that gives meaning to the mysteries of love. I Saw the Sky succeeds on several levels where Moment of Truth lingered. Walker's compositional integrity has improved and her choice of accompanying musicians, arrangers, and composers for this CD are among some of the best in the jazz world. If there is any truth to the old saying "The third time is a charm," then Melissa Walker is definitely having her shining hour on I Saw the Sky. ~Paula Edelstein

I Saw The Sky

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Eddie 'Lockjaw' Davis With Shirley Scott - On The Same Side

Bitrate: 320K/s
Time: 111:56
Size: 256.3 MB
Styles: Saxophone jazz, Organ jazz
Year: 2013
Art: Front

[ 5:13] 1. Pennies From Heaven
[ 5:17] 2. I Let A Song Go Out Of My Heart
[ 4:41] 3. I'll Never Be The Same
[ 6:13] 4. High Fry
[ 7:25] 5. I Can't Get Started
[ 4:35] 6. Willow Weep For Me
[ 4:23] 7. Old Devil Moon
[ 7:41] 8. But Beautiful
[ 9:55] 9. Light And Lovely
[ 4:16] 10. Too Close For Comfort
[ 4:29] 11. Body And Soul
[ 4:08] 12. But Not For Me
[ 5:25] 13. I Surrender, Dear
[ 6:13] 14. Lester Leaps In
[12:53] 15. In The Kitchen
[ 4:17] 16. You Stepped Out Of A Dream
[ 5:00] 17. It's A Blue World
[ 6:04] 18. Smoke This
[ 3:38] 19. Blue Lou

Sources vary regarding the way in which Eddie "Lockjaw" Davis earned his nickname. Some claim he adopted the moniker at an early recording session while creating titles for his compositions; "Lockjaw" consequently, became not only the name of a tune, but also an important part of his billing. Still others point to Davis's habit of clamping down on his tenor saxophone with his mouth as the reason his nickname came about, leading observers to call him "Lockjaw." But regardless of the cause, Davis became for many the quintessential straight-ahead jazz saxophonist. His sound--aggressive, big-toned, and bluesy yet also capable of great sensitivity--made him a much-emulated player. He was among a handful of players who developed an unmistakably personal sound. According to Derek Taylor on the All About Jazz website, Davis was the "bearer of a sound that could cleanly shift from coarse Rhythm and Blues infused wailing to beautifully textured, romantically voiced poetry. In either incarnation his signature sound, a full-bodied articulation that made ardent use of his instrument's rich tonal properties, always shone through as distinct and nonderivative."

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~bio by Alex Henderson

On The Same Side

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Jim Hall - Blues & Jazz

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 83:18
Size: 191,2 MB
Art: Front

(8:35)  1. I Get A Kick Out Of You
(7:09)  2. Bill Not Phil
(2:02)  3. Greensleeves
(6:24)  4. You Go To My Head
(7:24)  5. 2 Degrees East, 3 Degrees West
(5:29)  6. For All We Know
(5:54)  7. Good Friday Blues
(3:29)  8. Reuben, Reuben
(5:41)  9. East Of The Sun
(4:43) 10. I Was Doing All Right
(6:09) 11. Time After Time
(7:23) 12. I Remember You
(6:21) 13. Willow Weep For Me
(6:29) 14. When I Have You

Born in Buffalo, New York, before moving to Cleveland, Ohio, Hall was from a musical family, his mother played the piano, his grandfather violin, and his uncle guitar. He began playing the guitar at age ten when his mother gave him an instrument as a Christmas present. As a teenager in Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves, and Lucky Thompson. While he copied out solos by guitarist Charlie Christian (and later Barney Kessel), it was horn players from which he took a lead. In 1955, Hall attended the Cleveland Institute of Music where he studied piano and bass, in addition to theory. About a year later, he moved to Los Angeles, where cool jazz was prominent at the time. He focused on classical guitar, and, from 1955 to 1956, played in Chico Hamilton's quintet. It was at this time that he began to gain attention. In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging arrangements and interactive improvisation in duos and trios." 

He taught at the Lenox School of Jazz in 1959; toured with Jazz at the Philharmonic; and worked with Ben Webster (1959), Bill Evans (1959), Paul Desmond (1959–65), Ella Fitzgerald in Europe (1960), Lee Konitz (1960–61), Sonny Rollins (1961-2, 1964), and Art Farmer (1962-1964). Working with all of these prominent and established artists furthered Hall's career and aided in producing his own bands and own styles. By 1960, Hall was living in New York. In 1962, he led a trio with Tommy Flanagan and Ron Carter with the addition of Red Mitchell in 1965. Furthermore, he landed a gig playing with Bill Berry, Bob Brookmeyer, Benny Powell, Art Davis and Jake Hanna as a house band for The Merv Griffin Show on television. Most notably, he arranged and recorded duos with Evans and Carter, which allowed his complex arrangements and improvisations to shine. Hall had incredible improvisational ability and creativity. He was an arranger as much as an artist, known for developing motives and using blues inflections. These characteristics are showcased in his 1975 album Jim Hall Live!, with Don Thompson and Terry Clarke. Around this time he also recorded with pianist George Shearing and classical violinist Itzhak Perlman. He further continued creating music with Mitchell and Ron Carter until 1985. 

More Bio ~ http://en.wikipedia.org/wiki/Jim_Hall_%28musician%29

Blues & Jazz

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Great Jazz Trio - Love For Sale

Styles: Cool, Post Bop
Year: 1976
File: MP3@320K/s
Time: 44:44
Size: 102,7 MB
Art: Front

(6:55)  1. Love For Sale
(6:51)  2. Glad To Be Unhappy
(6:42)  3. Gee Baby, Ain't I Good To You
(6:05)  4. Secret Love
(6:22)  5. Someone To Watch Over Me
(5:48)  6. Autmn Leaves
(6:00)  7. Tenderly - Bonus Track

The name of the group might be immodest, but the combination of pianist Hank Jones, bassist Buster Williams and drummer Tony Williams lives up to its billing. Originally cut for the Japanese East Wind label and last available domestically as an Inner City LP, this swinging but unsurprising session features boppish interpretations of six jazz standards including "Love for Sale," "Secret Love," and "Autumn Leaves." [Originally released in 1976, a Japanese CD version of Love for Sale was released in 2002. ~ Scott Yanow  http://www.allmusic.com/album/love-for-sale-mw0000649542

Great Jazz Trio: Hank Jones (piano); Buster Williams (upright bass); Tony Williams (drums).

Love For Sale

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Kat Edmonson - The Big Picture

Styles: Folk
Year: 2014
File: MP3@320K/s
Time: 41:08
Size: 96,3 MB
Art: Front

(3:26)  1. Rainy Day Woman
(2:54)  2. You Said Enough
(2:48)  3. Oh My Love
(2:48)  4. Avion
(3:24)  5. Crying
(2:50)  6. All The Way
(3:49)  7. You Can't Break My Heart
(3:43)  8. Till We Start To Kiss
(3:27)  9. The Best
(3:26) 10. Dark Cloud
(4:25) 11. For Two
(4:01) 12. Who's Counting

Austin-based singer/songwriter Kat Edmonson has built a cult following around her cherubic, jazz-inflected songs. And while she has always utilized the colorful harmonies and clever lyrical melodies of jazz and American popular song, at her core she's a jazz-influenced pop artist, and this album finds her embracing those sensibilities more than ever. If Edmonson's 2012 sophomore album, Way Down Low, found her moving even further afield from the cabaret jazz of 2009's Take to the Sky, then 2014's The Big Picture reveals another evolution toward an all-original approach to making music. Working with producer Mitchell Froom, Edmonson wrote and/or co-wrote all of the songs on The Big Picture. Froom, no stranger to the art of presenting quirky singer/songwriters, having worked with such similarly inclined artists as Ron Sexsmith, Crowded House, Suzanne Vega, and others, is the perfect collaborator for Edmonson. 

Here, he frames her lilting, Billie Holiday-meets-Blossom Dearie vocals with the kind of '50s and '60s traditional pop sound that Edmonson lightly flirted with on Way Down Low. However, on The Big Picture the singer truly makes this style her own. There is a charming, vintage vibe to many of the album's tracks, with Froom and Edmonson striking a nice balance between cuts that have a retro, orchestral AM pop sound, such as the swinging ballad "Oh My Love," and a more contemporary folk sound, as on the poignant "All the Way." Elsewhere, Edmonson delves into Ennio Morricone spaghetti Western drama ("You Can't Break My Heart"), breezy '60s lounge music ("Avion"), and Brill Building echo-chamber romanticism ("For Two"). Ultimately, by bringing all of her influences together with Froom's help, Edmonson's own unmistakable sound comes into fine focus on The Big Picture.~ Matt Collar  http://www.allmusic.com/album/the-big-picture-mw0002718063

The Big Picture

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