Russell Malone - Look Who's Here

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 58:01
Size: 133,3 MB
Art: Front

(5:50)  1. The Angle
(4:07)  2. Be Careful, It's My Heart
(6:00)  3. Look Who's Here
(6:53)  4. Alfie
(7:02)  5. The Odd Couple
(7:43)  6. Soulful Kisses
(7:25)  7. Get Out Of Town
(3:47)  8. You Will Know
(3:13)  9. The Heather On The Hill
(5:55) 10. An Affair To Remember

A Wes Montgomery for the new millennium, this flashy yet honest hollow body guitarist captures all the exuberance and intimacy of the legend in the '60s, but with a certain modern attitude that makes this contemporary rather than just retro jazz. He and his quartet (pianist Anthony Wonsey, bassist Richie Goods, drummer Byron Landham) swing hard and high on the staccato punches of "The Angle," then smooth out just a bit for the heavy swaying blues of "Look Who's Here" (both Malone Originals). Malone has an amazing chemistry with Wonsey in particular, as their unique call and response, melody and harmony interplay on an upbeat twist on "The Odd Couple" makes abundantly clear. The best kinds of jazz albums feature a healthy mix of hard grooving jam sessions with plenty of improvisation, along with a few more intimate treasures. 

While there's a tender intimacy between guitar and steady percussion on Stevie Wonder's romantic "You Will Know," Malone's gentlest graces are saved for the sweet and wistful turn on Lerner and Loewe's "The Heather on the Hill." Before long, however, he's moving to the up groover category on "An Affair to Remember," which finds a happy medium between the exciting madness of the first few tracks and the eloquence of the ballads. With capable young lions like Malone on the scene, traditional jazz will stay healthy through the first years of the new century. ~ Jonathan Widran  http://www.allmusic.com/album/look-whos-here-mw0000672422

Personnel: Russell Malone (vocals, guitar); Anthony Wonsey (piano); Richie Goods (bass); Byron Landham (drums).

Look Who's Here

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Joe Sullivan - Joe Sullivan Plays Fats Waller

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 22:04
Size: 51,0 MB
Art: Front

(3:25)  1. If You Can't Be Good, Be Careful
(2:02)  2. Can't We Get Together
(2:17)  3. Never Heard of Such Stuff
(2:23)  4. There'll Come a Time When You'll Need Me
(3:32)  5. Breezin'
(2:58)  6. An Armful of You
(2:27)  7. What's Your Name
(2:57)  8. Solid Eclipse

Michael Joseph “Joe” O’Sullivan’ (November 4, 1906 – October 13, 1971) was an American jazz pianist. Sullivan was the ninth child of Irish immigrant parents. He studied classical piano for 12 years and at age 17, he began to play popular music in a club where he was exposed to jazz. He graduated from the Chicago Conservatory and was an important contributor to the Chicago jazz scene of the 1920s. Sullivan’s recording career began late in 1927 when he joined McKenzie and Condon’s Chicagoans. Other musicians included Jimmy McPartland, Frank Teschemacher, Bud Freeman, Jim Lanigan and Gene Krupa. In 1933, he joined Bing Crosby as his accompanist, recording and making many radio broadcasts. After suffering for two years with tuberculosis, he briefly rejoined Bing Crosby in 1938 and the Bob Crosby Orchestra in 1939. By the 1950s, Sullivan was largely forgotten, playing solo in San Francisco. Marital difficulties and excessive drinking caused Sullivan to become increasingly unreliable and unable to keep a steady job, either as band member or soloist. Bio ~ http://www.last.fm/music/Joe+Sullivan/+wiki

Joe Sullivan Plays Fats Waller

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Marina Xavier - When The World Was Young

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 39:48
Size: 91,7 MB
Art: Front

(3:42)  1. Tenderly
(2:20)  2. Everytime We Say Goodbye
(5:25)  3. When the World Was Young
(3:44)  4. I Fall in Love Too Easily
(3:37)  5. You Turned the Tables On Me
(4:14)  6. I Love Paris
(6:12)  7. The Nearness of You
(4:08)  8. As Long As I Live
(2:36)  9. Thanks for the Memory
(3:45) 10. Angel

Her choices make for an interesting track listing including the cabaret camp of 'Thanks for the Memory' and the Euro-broodiness of the title track 'When the World was Young'. As far as jazz inflections go Xavier's right mix of lazy smokiness and syncopated swing is on the money, with plenty of help from her cast of stellar sideman (including pianist Jeremy Monteiro).  

http://www.cduniverse.com/productinfo.asp?pid=8706702&style=music

When The World Was Young

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Oliver Jones Feat. Josee Aidans - Just for my Lady

Styles: Piano And Violin Jazz
Year: 2013
File: MP3@320K/s
Time: 57:16
Size: 131,5 MB
Art: Front

(4:13)  1. Josée's Blues
(5:45)  2. When Summer Comes
(4:26)  3. The Windmills of my Mind
(5:04)  4. Lady Be Good
(7:22)  5. You Look Good To Me
(4:38)  6. Lights of Burgundy
(4:54)  7. The Angel and Mr. Jones
(2:06)  8. The Saskatchewan Suite: Prince Albert Sunrise
(5:18)  9. The Saskatchewan Suite: Regina Sky
(3:15) 10. The Saskatchewan Suite: Saskatoon Spirit
(6:02) 11. Just For My Lady
(4:07) 12. In The Key of Geoff

Pianist Oliver Jones has become something of a national treasure on the Canadian jazz scene over the past three decades. That's all the more remarkable considering the fact that this soon-to-be eighty year old didn't start making jazz recordings until he was in his 50s. In many respects, as his recording career has evolved, Jones has become the poster boy for the Justin Time imprint; he's released about twenty records on this label over the past thirty years and, though most of those recordings have put his Oscar Peterson-esque chops and pianistic savoir-faire on display, none really tread over the exact same ground. Sure, he often favors the piano trio format, but he isn't averse to trying something different. He demonstrated that openness on Pleased To Meet You (Justin Time, 2009), a four-handed piano feast pairing him with the late, great Hank Jones, and it serves him well here; Just For My Lady finds Jones at the head of a fine foursome a piano trio augmented by violinist Josee Aidans. The mechanics, mannerisms, and musical choices Jones makes on Just For My Lady are par for the course he's set for himself in the past, but fairly predictable pathways can still lead to pretty damn good destinations. 

He has a surprise or two in store for the ears, like the brief foray into swing territory on "The Windmills Of Your Mind," but those surprises are rare. In the end, when it comes to a player like Jones, the unexpected turns just don't matter that much. When he plays, every turn of a phrase and tickle of a key touch the soul, and few can make a piano sparkle through the speakers like Jones does.. Blues, ballads and straight-up swingers surface during this twelve song affair. Aidans takes the lead role on the bookends her Jones-penned namesake tune at the top of the program ("Josee's Blues") and a lovely-to-lively Gershwin number ("Lady Be Good") at the bottom but she isn't always the center of attention; bassist Eric Lagace uses his bow in the service of beauty and keeps things moving along in livelier places; drummer Jim Doxas powers the group and provides gentle percussive coloration in softer environs; and Jones gets plenty of opportunities to let loose on the 88s. Just For My Lady isn't more of the same from Jones, but it is another sterling set from one of the most accomplished pianists north of the 49th parallel. ~ Dan Bilawasky  http://www.allaboutjazz.com/just-for-my-lady-oliver-jones-justin-time-records-review-by-dan-bilawsky.php

Personnel: Oliver Jones: piano; Josee Aidans: violin; Eric Lagace: bass; Jim Doxas: drums.

Just for my Lady

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Richard Galliano & Gabriele Mirabassi - Coloriage

Styles: Accordion And Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:12
Size: 126,7 MB
Art: Front

( 4:57)  1. Beritzwaltz
( 5:43)  2. Reflections
( 8:09)  3. Spleen
(10:04)  4. Il Viaggio
( 5:28)  5. Tea For Toots
( 7:16)  6. Giselle
( 4:54)  7. Coloriage
( 5:25)  8. Ballade Pour Marion
( 3:12)  9. Chiquilin De Bachin

Accordionist Richard Galliano did for European folk specifically, the early 20th century French ballroom dance form known as musette what his mentor Astor Piazzolla did for the Argentinian tango. Galliano reimagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father had) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and had made it his primary focus by the late '60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaro's orchestra. 

He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed; some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, and some with his favorite rhythm section of bassist Jean-François Jenny-Clark and drummer Daniel Humair (after Jenny-Clark's untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label and a new recording, Face to Face, a duet recording with French pianist and vocalist Eddy Louiss. In 2004 after several global tours and reissues of some of his earlier albums, Blues Sur Seine, a duet offering with cellist Jean-Charles Capon, was released on La Lichere; he also appeared as a soloist with Josefine Cronholm on Blue Hat by Søren Siegumfeldt's String Swing and Concerts with Portal. 

This was followed by 2005's Ruby, My Dear by the New York Trio: Galliano, bassist Larry Grenadier, and drummer Clarence Penn. In 2007, Galliano delivered Solo on Dreyfus as well as Mare Nostrum, co-headlined with Paolo Fresu and Jan Lundgren, and Luz Negra, a tango album by his own sextet. By all accounts, Galliano, in his touring, composing, and recording appearances, had become prolific on both sides of the Atlantic. The accordionist recorded with Charlie Haden, Mino Cinelu, and Gonzalo Rubalcaba on 2008's Love Day: Los Angeles Sessions, and back in Europe with the Brussels Jazz Orchestra on Ten Years Ago; both were issued on Milan. Galliano signed to Deutsch Grammophon, where he cut a trilogy of classically themed recordings: J.S. Bach in 2010, Nino Rota in 2011, and Antonio Vivaldi in 2013. The tango and bal-musette accordionist returned to jazz in 2014. Sentimentale was recorded for Resonance and produced by its founder, George Klabin. The studio band consisted of pianist-arranger Tamir Hendelman, guitarist Anthony Wilson, bassist Carlos Del Puerto, and drummer Mauricio Zottarelli. It was released in September. ~ Steve Huey & Thom Jurek, Rovi  Bio ~ https://itunes.apple.com/us/artist/richard-galliano/id41914533#fullText

Personnel: Richard Galliano (accordion); Gabriele Mirabassi (clarinet).

Coloriage

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Girlyman - Remember Who I Am

Size: 101,2 MB
Time: 43:12
File: MP3 @ 320K/s
Released: 2004
Styles: Folk Pop
Art: Front

01. Viola (3:49)
02. Hey Rose (3:02)
03. Say Goodbye (4:17)
04. Fall Stories (2:43)
05. The Shape I Found You In (3:28)
06. Maori (3:23)
07. Montpelier (3:53)
08. Even If (3:24)
09. David (4:32)
10. My Sweet Lord (3:42)
11. Postcards From Mexico (2:40)
12. Amaze Me (4:13)

So who's behind the irresistible moniker of Girlyman, a trio that fits the bill for swirling styles and gender roles, both individually and collectively? Doris Muramatsu and Tylan Greenstein, whose 2002 debut as The Garden Verge received an Outmusic Award for Best New Recording by a duo, make up two-thirds of Girlyman. Rounding out the group is former Bostonian and Boston Music Award winner Nate Borofsky.

The accolades don't stop there, however. In 2002, Girlyman was voted "Most Wanted to Return" by fans at the prestigious Falcon Ridge Folk Festival; surprisingly, the trio had formed as a musical unit only a few months before the event. One listen to the 12 tracks on Girlyman's first studio project, "Remember Who I Am," and you'll understand why they snagged an audience-favorite nod so effortlessly.

Their resonant sound is one that you're almost guaranteed not to expect. Equal parts Alison Krauss & Union Station and REM, Girlyman's mellow, rootsy atmospherics feel right at home in an intimate acoustic venue like Harvard Square's Club Passim, where the trio recently performed. The group members trade songwriting responsibilities on most numbers, though their techniques flow together as smoothly as their electric harmonies.

Aptly titled, "Remember Who I Am" is a stirring collection of remembrances -of friends, of lovers, of ways of life. "Viola," the disc's lovely opening elegy, dips and soars more gracefully than many songs of its kind ("I drowned myself tonight in sangria/ Made with sliced up fruit and cheap marsala"). Other ballads such as "Say Goodbye" and "The Shape I Found You In" move deeply and deliberately courtesy of Joe Dye's pedal steel guitar, which floats through the songs like a somber ghost. The dreamy "Maori" boasts a gorgeous melodic finesse as it contemplates the faraway natives of New Zealand, while "Amaze Me" tells a quirky tale of love for America in a dark time. Each song hooks into what's visceral and true. -Jason Roush, Bay Windowsy.

Remember Who I Am

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Luciano Invernizzi - The Other Side Of Luciano Invernizzi

Size: 149,6 MB
Time: 64:57
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: New Orleans Jazz, Blues Jazz
Art: Front

01. Loose Blues (5:02)
02. When My Dreamboat Come Home (4:33)
03. Rosetta (6:30)
04. Saint James Infirmary (6:56)
05. When Your Hair Has Turned To Silver (5:58)
06. Too Marvelous For Words (7:30)
07. Linger Awhile (6:31)
08. Backwater Blues (5:43)
09. More Rain More Rest (4:47)
10. Love Letters In The Sand (5:53)
11. S'posin (5:29)

Since I was a kid is dedicated to listening to and studying jazz music enjoying executions of Louis Armstrong, King Oliver, Jelly Roll Morton and the traditional jazz in General drawing, to trombone players such as Kid Ory, Jim Robinson, Vick Dickinson.

In Milan in the 1960s with a group of enthusiasts founded the "Bovisa New Orleans Jazz Band", a complex that is inspired by the New Orleans style, which, in forty years of activity, accompanied in their tour in Italy several New Orleans musicians among which we mention: Louis Nelson, capt. John Handy, Don Ewel, Albert Nicholas, Thomas Jefferson, Alvin Alcorn, Emanuel Sayles, Wingy Manone Freddie Kohlmann, and many others.

Numerous jazz events to which the "Bovisa New Orleans jazz Band" participate: wins first prize at the "Italian festival" review of Foligno in ' 63; Represents Italy at the "New Orleans Festival" in Frankfurt in ' 64; at the Jazz Band Ball "in Paris in ' 67 and ' Grand Parade du Jazz" in Nice in ' 74 and ' 75, in almost all editions of the "New Orleans Music Festival" of Lugano and Ascona before then. He has participated in more editions of "Umbria Jazz" and, over the years, almost all national and European jazz festival, ... Unable to list them all.

Invernizzi has also had the pleasure of accompanying LOUIS ARMSTRONG in a television broadcast and, in addition to guiding the orchestra he founded, he also plays with other Italian and European complex of traditional jazz. In one of his frequent trips to New Orleans, he performed at "Presenvation Hall" with Percy Humphrey and his band.

Invernizzi and is also a component of Jambalya six "by Vittorio Castelli, and was among the founders of the" Pegasus Brass Band ", and regularly collaborates with Barry Martyn Sammy Rimington, Doc Houlind, Keith Smith, Walter Weber, Rudy Balliu and other leading European band

The Other Side Of Luciano Invernizzi

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Sweet Lu Olutosin - Sweet Lou's Blues (With Antonio Ciacca Quintet)

Size: 106,6 MB
Time: 46:03
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Swing
Art: Front

01. Malcolm's Song (Theme For Malcolm) (7:40)
02. Every Day I Fall In Love (6:21)
03. Those Lagos Blues (Lagos Blues) (6:33)
04. Call Him Blackjack (Blackjack) (3:25)
05. Let's Go Driftin' (Driftin’) (5:22)
06. Nancy With The Laughing Face (4:23)
07. The Baron (Baron 5) (3:49)
08. Be My Mamacita (Mamacita) (3:31)
09. Sweet Lou's Blues (Sweet Lou) (4:56)

After 35 years in the Military as a Police Officer and achieving the rank of Colonel, Lutalo Olutosin aka ' Sweet Lu’ Olutosin found that his calling to be a Jazz Vocalist was still as strong as it was the day he entered Military Service.

Today Lu is a bandleader, featured Soloist, and Recording artist. His freshman release achieved status on the US Jazz Charts in 2011. Lu has received Critical acclaim and Glowing reviews in industry standard publications like All About Jazz, Jazz USA, Jazz Times and Others.

Sweet Lu has just completed his most recent work in New York City entitled “Sweet Lou’s Blues” where he teamed with Antonio Ciacca’s quintet of esteemed Jazz musicians including Jeremy Pelt, Jerome Jennings, Tivon Pennicott, and Mike Karn. The CD is already receiving Great reviews in Jazz industry publications.

Here is what people are saying about “Sweet Lou’s Blues”

“as the title tune came to a close I unabashedly shouted “Applause, Applause!” to Lutalo Olutosin for a vision that unquestionably hit the sweet spot on the mark” ....... Carl Anthony, Notorious Jazz

“My personal favorite of the nine tunes offered up for true jazz listeners to enjoy (now & for a long time to come) was “Those Lagos Blues“… this one alone makes the purchase of the CD well worth it! I give Lu & his excellent crew a MOST HIGHLY RECOMMENDED, with an “EQ” rating of a (perfect) 5.00; which means that this one also gets the “PICK” of this issue for “best jazz vocals”.

Sweet Lou's Blues

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Geoffrey Aymar - The Trio Vol. 1

Size: 99,2 MB
Time: 42:57
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Mainstream Jazz, Piano Jazz
Art: Front

01. It Could Happen To You (3:50)
02. Minor Memories (4:47)
03. How Long Has This Been Going On 4 (6:01)
04. You Are My Sunshine (4:20)
05. I Fall In Love Too Easily (4:37)
06. Summertime (4:24)
07. Green Dolphin Street (8:39)
08. Our Love Is Here To Stay (6:14)

Los Angeles based pianist, Geoff Aymar, has digitally released (for the first time) his first two trio CD’s recorded in the late 1990’s. The Trio--Volume One and Volume Two. The two volumes were recorded in one long session with bassist and legendary producer/engineer, Malcolm Cecil and drummer Johnny Kirkwood (Louis Jordan, Dinah Washington, Plas Johnson). The trio worked together regularly at a hotel in Marina Del Rey when this was recorded which made them a cohesive and finely-tuned musical ensemble.

Geoff was a fixture for many years at the Marina Beach Marriott Hotel where he played five nights a week both solo and with small groups. As jazz critic Scott Yanow noted “Aymar plays on a much higher level than the usual hotel pianist.” The hotel gig was fertile ground for Geoff’s musical muse at the time and allowed him to play with many of the finest jazz musicians in LA. Musicians such as: guitarists Frank Potenza and Larry Koonse; bassists Eugene Wright, Andy Simpkins, Al Mckibbon, Luther Hughes; Saxophonists Rob Kyle, Jeff Clayton, Ricky Woodard among many others.

These CD’s were recorded at 29th Street Studio in Torrance, California. The studio was owned by David Benoit and recorded on David’s personal Steinway from his home that happened to be in the studio at the time of the recording. The sound quality is extraordinary thanks to Malcolm who won a Grammy award for engineering Steve Wonder’s “Innervision”. Johnny’s playing is hard swinging and tightly wound around Malcolms growling bass notes that dance between Geoff’s bluesy and melodic improvisations.

Geoff went on to play many top venues in Los Angeles after these recordings while also pursuing a direction as a composer. His last CD “Can’t Stop Now” was his first disc of all original music and once again had Malcolm Cecil at the helm as producer..working his aural magic on the sessions. Can’t Stop Now features guitarist Larry Koonse, drummer Kendal Kay and bassist David May. The CD is also available on CDbaby.com


"Aymar's style is in keeping with the Les McCann school of pianists with a due nod to Oscar Peterson. That happy feeling that comes from the music of those players is ever present on these discs" Frank Rubolino--Cadence Magazine

"Geoff's music is exactly what KLON is all about, an engaging mix of memorable original compositions and fresh
straight ahead conceptions of jazz standards". Ken Borgers -- Former program director of KLON (now KJZZ 88.1 LOS Angeles)

"..the pianist shows originality and creativity within the mainstream of jazz" "A local artist well worth supporting" Scott Yanow--Jazz critic (Downbeat, Jazz Times, LA Times)

The Trio Vol. 1

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Michele Santo - So Far

Size: 116,7 MB
Time: 50:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. If I Only Had A Brain (5:35)
02. Devil May Care (4:51)
03. Bein' Green (5:10)
04. Alone Together (3:58)
05. Better Than Anything (5:09)
06. It Never Entered My Mind (3:36)
07. The Rules Of The Road (3:57)
08. Heart's Desire (4:24)
09. That's All (3:13)
10. Looking Back (Reflections) (5:13)
11. The Best Is Yet To Come (5:15)

Personnel:
Michele Santo, Vocals
Marty Mellinger, Piano and keyboards
Steve Varner, Bass
Erik Johnson, Drums

I couldn't get more info about this singer. Any help will be welcome.

So Far

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Véronneau - Joie De Vivre - Joy of Living

Styles: Brazilian Jazz, Bossa Nova
Year: 2011
File: MP3@320K/s
Time: 36:49
Size: 87,3 MB
Art: Front

(4:55)  1. La Mer
(4:22)  2. The Gentle Rain
(2:58)  3. For No One
(3:27)  4. Corcovado
(3:43)  5. Cielito Lindo
(4:49)  6. The Street Where You Live
(3:53)  7. Brazil
(2:35)  8. Abertura do Verao (Opening of Summer)
(2:45)  9. One Note Samba
(3:18) 10. Blue Skies

Sweetly simple and sensual, Véronneau’s Joie de Vivre is a smooth record ideal for summer listening outside with a glass of wine or four, and some candlelight.Véronneau is the band of the marvellous French-Canadian singer Lynn Véronneau. With Ken Avis (guitar, vocals, percussion), David Rosenblatt (guitar, percussion) and Pete Walby (drums), Lynn’s outfit is sharp and dedicated to exploring the passion of music and life. The recording also features the violin of Dave Kline and the blistering, bluesy saxophone of Canadian Jeff Antoniuk. Joie de Vivre is a compilation of sorts, but it’s also a freshly original work.Véronneau presents their favourite music, delivering a selection of songs ranging from the Beatles to Rodgers and Hart. Brazilian samba, gypsy jazz and French music also reveal the band’s deep sensibilities to sampling from the jubilant palette of creativity.

More than simply singing covers and slinking away elsewhere, Lynn takes ownership of each individual piece and delivers an emotional, passionate performance every time. Her work on Lennon and McCartney’s haunting and gorgeous “For No One” takes on spectacular new meaning as Lynn emotes and phrases things elegantly. Backed by simple guitar, it’s one of my favourite tracks on the record.

The music of Antonio Carlos Jobim is given two opportunities to shine. “Corcovado” and “One Note Samba” embody the spirit of the Brazilian songwriter and composer. Lynn sails through the Gene Lees English lyrics on the former, guided all the while by Avis and Rosenblatt’s lovely playing.Whether she’s tackling the nuances of classic tunes (“La Mer”) or drawing on the pageantry of My Fair Lady (“The Street Where You Live”), Lynn is a consummate performer. Her voice packs a wallop, sure, but most importantly she sings with heart. As she pulls back on the big notes and enters into subtle patterns of expert phrasing, it feels as though she’s singing to one person at a time. Even with this intimate vibe, it’s clear that the music of Joie de Vivre is designed for big crowds and bright lights. The musical experience rendered by Lynn and co. is satisfying and bewitching, engaging in the tales it tells and the stories it leaves to mystery. The liner notes aren’t bad, either. ~ Jordan Richardson  http://blogcritics.org/i-hear-sparks-vronneau-joie-de/

Joie De Vivre - Joy of Living

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Dave Pell Octet - Swingin' In The Ol' Corral

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 40:07
Size: 92,9 MB
Art: Front

(2:52)  1. I'm An Old Cowhand
(3:10)  2. Oklahoma Hills
(3:24)  3. Cool Water
(3:08)  4. I'll Be Hanged
(2:26)  5. Gal In Calico
(4:29)  6. Empty Saddles
(2:43)  7. Arkansas
(3:14)  8. Camptown March And Blues
(4:19)  9. South Of The Border
(4:13) 10. Wagon Wheels
(2:26) 11. Across The Alley From The Alamo
(3:38) 12. My Sombrero

Dave Pell's behind-the-scenes career may be more familiar to space age pop fans than his own accomplishments as a performer. As head of artists and repertory (A&R) for Liberty Records and United Artists in the 1960s, Pell produced many of the best-known albums by Martin Denny, Si Zentner, the Ventures, Trombones Unlimited, and others. But Pell started as a working musician in the heyday of the big bands. He joined Tony Pastor's band in 1944, spent two years working with Bob Crosby's Bobcats, then moved to Los Angeles and joined Les Brown's new "Band of Renown" group in 1947. As a tenor sax player, Pell became one of the stars of the Brown band, and he remained with them until 1955. He then formed his own group, the Dave Pell Octet, along with trumpeter Don Fagerquist, and adopted a lighter style, very much in the spirit of the West Coast jazz movement. Pell hired some of the best arranging talents available, including Marty Paich, Shorty Rogers, Jerry Fielding, and Bill Holman, and the group's albums sold well. 

Some critics panned the group as "middlebrow jazz" and Pell himself once referred to it as "mortgage-paying jazz," but its tight ensemble recordings have become highly collectable. Pell also recorded a series of albums with a larger band, performing in the style of the most famous names from the big band era, for a small budget label he owned called PRI. Several years later, he cashed in on the percussion album craze by hiring drummer Frankie Capp to overdub percussion parts on these recordings and released them as Percussion in a Tribute to ... on Kimberley Records, another label he started. Like many West Coast jazz musicians, Pell moved to the security of studio work as the interest and market for live jazz waned. He joined the staff of Liberty Records and soon became a major contributor. He worked hard on both the technical and musical sides, improving Liberty's studio processes and working to develop its roster of artists. He often collaborated with producer Snuff Garrett and arranger Bob Florence, cultivating both pop and rock artists. He was the first to record singer Vicki Carr, fresh out of stint as a girl singer in Ray Anthony's road show, and produced her first 11 albums, including It Must Be Him, which sold over a million copies. 

Pell released three albums under his own name on Liberty. The first two, in 1963, featured Florence's arrangements for small combo and jazz chorus. The last, released in 1969, is now a great favorite of soft pop/easy tempo fans, with terrific versions of Piero Umiliani's dippy classic, "Mah-Na, Mah-Na," the Electric Indians' "Kemo Sabe," and the title tune from the nude musical, "Oh, Calcutta." Pell and Florence are rumored to have become so familiar with Martin Denny's style that they ghosted several of Denny's albums while the performer was out on tour. Certainly Pell and Moog player Paul Beaver had more to do with the great Exotic Moog than Denny himself did, which Denny himself readily admits. After Liberty was ingested by United Artists, Pell became creative director for Motown Records, where he hired the Commodores and helped the label through its challenging transition from Detroit to Los Angeles, and from the "Motown sound" to 70s soul and disco. 

He worked with Garrett again in the 1980s, heading Garrett's Viva label, which had some of the hotter country artists of the period in Shelly West and David Frizzell, and running a music publishing conglomerate that encompassed over 30 different companies. He joined up with another West Coast jazz vet, Lennie Niehaus, and handled the soundtrack recordings for a number of Clint Eastwood and Burt Reynolds films, including "Sudden Impact" and "Sharkey's Machine" (which included the last known recording by former Liberty cover girl Julie London). He also founded Headfirst, a pioneering digital recording label. Pell continues to work in the music industry and has his own website, www.davepell.com. And over forty years after their first release, his "Tribute" series made its third appearance, this time on Pell's CD label, Group 7 Records. Bio ~ http://www.davepell.com/about.html

Swingin' In The Ol' Corral

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Philippe Chretien - A Love Story

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 43:26
Size: 99,4 MB
Art: Front

(10:00)  1. Summertime
( 6:32)  2. This Masquerade
( 6:44)  3. Love Story
( 8:11)  4. Besame Mucho
( 6:36)  5. Harlem Nocturno
( 5:21)  6. Ain't No Sunshine

Philippe Chretien, who was born in 1958 in Basel and taught by Chester Gill in piano and trumpet, tenor sax took place in 1979 in his preferred instrument. International concert experience he gained with renowned musicians and DJs of different directions. He has developed his very own style. In his solo project he works as a composer, producer and DJ. In elegant understatement his gala performances creating a relaxed and sensual atmosphere. Typical of Philippe Chretien is his distinctive tone and musical empathy. Jack Kreisberg (Blue Note, New York) brought it to the point: "He's got a killer sound". Bio ~ http://www.saxophonist.ch/deutsch/bio.html

A Love Story

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Katrine Madsen (feat. Lars Jansson) - Dream Dancing

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 63:05
Size: 145,9 MB
Art: Front

(4:53)  1. August Moon
(5:55)  2. Time After Time
(5:57)  3. Bewitched
(3:45)  4. No More Blues
(4:00)  5. Make Someone Happy
(4:14)  6. Just Friends
(4:11)  7. Strange Meadow Lark
(5:17)  8. You Don't Know What Love Is
(4:27)  9. Just One of These Things
(5:08) 10. This Lament
(5:22) 11. The Song Is You
(5:37) 12. A Rainy Afternoon
(4:13) 13. Dream Dancing

Katrine Madsen's Danish jazz singer and has taken his graduation from the Academy of Music. She formed in 1994 his own group Swing Quintet and debuted in 1996 with the album after 'I'm Old Fashioned'. It was followed by 'Dream Dancing' from 1997. She also starred in Ed Thigpen Rhythm Features, has toured with Lars Moller on saxophone, Jan Lund Green on piano, Jesper Bodilsen on bass and Morten Lund on drums in different contexts.  In spring 2000, Danes could see her roll over the TV series The spider as nightclub singer, in which she also starred on the soundtrack. That same year published 'My Secret'. "World class" and "one of the best jazz singers in Scandinavia" was the newspaper bid for a review of Katrine Madsen. 

To accompany her on her tour in the 'My Secret' selected Katrine Madsen guitarist Jacob Fischer and bassist and Consort Jesper Bodilsen. Katrine has repeatedly moved across the sound to find partners. On the release of 'Magic Night' from 2001, she teamed up with the Stockholm orchestra Bohuslän Big Band, which also led to a tour around many of Scandinavia venues. She has also sung with Claes Crona Trio and Svante Thuresson. With her ??sixth plate 'Close to You' was turned down for the big bigbandlyd in favor of a more intimate musical space. The sheet total again Madsen's usual rhythm section with Jesper Bodilsen and Morten Lund. This time they were supplemented by Bodilsens and Lund's regular trio partner pianist Stefano Bollani and saxophonist Hans Ulrik and the Swedish trumpeter Mårten Lundgren. Here binds Madsen an old standards as Ellington's 'In a sentimental mood', Burt Bacharach's 'Close to You' and Lennon / McCartney 'And I love here'. 

The album was nominated for a "Danish Music Awards Jazz" as the year's vocal release 2005. On release, 'Box of Pearls' from 2005, Katrine Madsen again teamed up with Claes Crona Trio and Svante Thuresson to a collection of vocal duets. This album is a studio album and was nominated as the year vocal release for "Danish Music Awards Jazz" 2006.  Translate by google  http://www.kingsizebigband.dk/Koncerter/Katrine-Madsen.html

Dream Dancing

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Mark Whitfield - True Blue

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 74:52
Size: 172,0 MB
Art: Front

(6:09)  1. Blues For Davis Alexander
(7:34)  2. Psalm 91
(6:56)  3. The Mystery Of Love Everlasting
(4:06)  4. Blues For Alice
(5:21)  5. John And Mamie
(4:50)  6. Save Your Love For Me
(6:59)  7. Immanuel The Redeemer
(6:28)  8. Quik Pik's Blues
(6:28)  9. Mr. Syms
(5:25) 10. Berkshire Blues
(4:44) 11. Blues For Baby Boy
(5:49) 12. Girl Talk
(3:57) 13. Ba-Lue Bolivar Ba-Lue-Are

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, Whitfield temporarily moved to Brooklyn and appeared at many sessions. George Benson suggested he work for Jack McDuff and that association was a big break for Whitfield. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine. Bio ~ https://itunes.apple.com/us/artist/mark-whitfield/id50198#fullText

Personnel: Mark Whitfield (guitar); Branford Marsalis (soprano saxophone, tenor saxophone); Nicholas Payton (trumpet); Kenny Kirkland (piano, keyboards); Jeff "Tain" Watts (drums).

True Blue

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Louis Hayes Jazz Communicators - Lou's Idea

Styles: Straight Ahead Jazz
Year: 2010
File: MP3@320K/s
Time: 56:43
Size: 130,5 MB
Art: Front

(5:18)  1. Lou's Idea
(8:17)  2. I Have Nothing Better to Do - Extended Version
(3:58)  3. Curtain Call
(4:10)  4. Nothing Better to Do
(7:38)  5. Say a Little Prayer
(5:05)  6. Bolivia
(7:43)  7. Soul Eyes
(6:02)  8. This Is New
(3:02)  9. Just Feeling
(5:26) 10. Same Page

The first version of the marvelous drummer Louis Hayes’ Jazz Communicators was only together a short time (1967-68), but that unit included two legendary players in tenor saxophonist Joe Henderson and trumpeter Freddie Hubbard. The latest edition’s pedigree doesn’t quite equal that of its predecessor, though the roster does include such accomplished musicians as tenor saxophonist Abraham Burton, vibraphonist Steve Nelson and bassist Santi Debriano. Of course Hayes is the dominant figure, and he’s also on a select list of jazz’s most exciting, imaginative drummers. Though his array of session credits and band memberships (Yusef Lateef, Horace Silver, Cannonball Adderley, Oscar Peterson) is extensive and impressive, Hayes isn’t exactly ready for retirement. His dynamic personality is a major reason why the Jazz Communicators’ latest effort is mostly a strong one. Whether it’s his stunning solo in the early section of “Curtain Call,” or the way he accelerates and drives the band on “Same Page” and the title track, Hayes’ leadership mirrors the way Art Blakey powered countless Messengers editions. 

In fact, the title track has the identical bounce, spirited solo exchanges and crisp, crackling drumming that was the key component of the best Jazz Messengers material. “Bolivia” and a solid version of “Soul Eyes” are other noteworthy tracks, and Nelson’s most assertive playing arrives on “Same Page” and “This Is New.” Burton is an animated stylist, very passionate on “Nothing Better to Do” and “This Is New.” The only problematic piece is the cover of “Say a Little Prayer.” The lyrics were ideal for signature vocal versions by Dionne Warwick and Aretha Franklin, among others, but the structure and arrangement don’t hold up through this overly long group rendition, even with Burton and Nelson doing their best to create some fire during extended solos. 

But that exception aside, Louis Hayes’ latest incarnation of his Jazz Communicators has delivered a worthwhile session. Lou’s Idea even indicates that this version of the group could evolve into a band as vital as the vintage edition. ~ Ron Wynn  http://jazztimes.com/articles/27356-lou-s-idea-louis-hayes-jazz-communicators

Lou's Idea

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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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