Bobby Hackett - Rendezvous

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 34:13
Size: 80,1 MB
Art: Front

(3:04)  1. You Are Too Beautiful
(2:38)  2. Thank You For A Lovely Evening
(2:38)  3. Autumn Nocturne
(2:59)  4. Cocktails For Two
(3:08)  5. When I'm With You
(3:07)  6. We Kiss In A Shadow
(2:36)  7. Two Cigarettes In The Dark
(2:35)  8. The Very Thought Of You
(2:33)  9. The Way You Look Tonight
(3:14) 10. Moonlight Becomes You
(3:07) 11. Love Me
(2:27) 12. One Kiss

Hackett was born in Providence, Rhode Island, to a family of Irish immigrants. He made his name as a follower of the legendary cornet player Bix Beiderbecke: Benny Goodman hired him to recreate Bix's famous "I'm Coming Virginia" solo at his (Goodman's) 1938 Carnegie Hall concert. In the late 1930s Hackett played lead trumpet in the Vic Schoen Orchestra which backed the Andrews Sisters. Bobby Hackett can be heard on the soundtrack to the 1940 Fred Astaire movie Second Chorus. In 1939 the talent agency MCA asked Bobby Hackett to form a big band with its backing. Unfortunately the band failed and Hackett was in substantial debt to MCA after it folded. Bobby Hackett joined the bands of Horace Heidt and then Glenn Miller to pay down this debt. To make matters worse, his lip was in bad shape after dental surgery, making it difficult for him to play the trumpet or cornet. Glenn Miller came to Hackett's rescue, offering him a job as a guitarist with the Miller Band. "When I joined the band and I was making good money at last, [...] [jazz critics] accused me of selling out. Hell I wasn't selling out, I was selling in! It's funny, isn't it, how you go right into the wastebasket with some critics the minute you become successful". Despite his lip problems, Hackett could still play occasional short solos, and he can be heard playing a famous one with the Glenn Miller Orchestra on "A String of Pearls."

A dream come true for Hackett was his inclusion in Louis Armstrong's 1947 Town Hall Jazz Concert. In 1954, Hackett appeared as a regular on the short-lived ABC variety show, The Martha Wright Show, also known as The Packard Showroom.However, what made Hackett something of a household name was his being hired by Jackie Gleason as a cornet soloist for some of Gleason's earliest mood music albums. Starting in 1952, Hackett appeared on Gleason's first Capitol Records album, Music for Lovers Only. The record as well as all of Gleason's next ten albums went gold. Hackett went on to appear on six more Gleason LPs. This association led directly to Hackett signing with Capitol for a series of his own albums. In 1965, he toured with singer Tony Bennett. In 1966 and 1967 Hackett accompanied Bennett on two European tours. In the early 1970s, Hackett performed separately with Dizzy Gillespie and Teresa Brewer.In 2012, Hackett was selected to be inducted into the Rhode Island Music Hall of Fame. Bio ~ http://en.wikipedia.org/wiki/Bobby_Hackett

Rendezvous

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Lizz Wright - Fellowship

Styles: Neo-Soul
Year: 2010
File: MP3@320K/s
Time: 47:32
Size: 109,3 MB
Art: Front

(3:33)  1. Fellowship
(4:37)  2. Imagination
(5:30)  3. I Remember, I Believe
(4:29)  4. God Specializes
(8:30)  5. Gospel Medley
(1:56)  6. Sweeping Through The City
(1:18)  7. All The Seeds
(4:51)  8. Presence Of The Lord
(3:06)  9. In From The Storm
(2:58) 10. Feel The Light
(1:31) 11. Oya
(5:07) 12. Amazing Grace

On her fourth album, Lizz Wright returns to her gospel roots after writing her own material on 2008's The Orchard. Typically, however, this is hardly a traditional collection of faith-based songs. Wright does include a medley of old spirituals including "Up Above My Head," and she closes the proceedings with "Amazing Grace." But her idea of gospel is highly eclectic, also encompassing the Gladys Knight & the Pips hit "I've Got to Use My Imagination" and Jimi Hendrix's "In from the Storm," neither of which seem particularly religious, as well as Eric Clapton's "Presence of the Lord." Wright also draws material from a clutch of black female contemporaries and influences including Me'Shell Ndegéocello, Bernice Johnson Reagon, Joan Wasser, and Angélique Kidjo as she ranges from neo-soul to African-styled folk-rock music. 

The disparate sources are united by Wright's distinctive and powerful alto voice, which anchors the music and provides a stylistic through-line, no matter what the nominal genre. This is an unusually somber type of gospel, as Wright favors moodiness over fervor in her statements of faith. That is especially true at the end, when she presents "Amazing Grace" in an ambient, funereal mood. Listeners should expect to be moved by these performances, but not to be cheered. 

~ William Ruhlmann  http://www.allmusic.com/album/fellowship-mw0002033204

Fellowship

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Bob Barnard & Jim Galloway - What's New

Styles: Cornet And Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 63:02
Size: 144,8 MB
Art: Front

(5:59)  1. I've Got A Feeling I'm Falling
(7:05)  2. You Are My Lucky Star
(5:57)  3. What's New
(5:43)  4. Marie
(6:04)  5. The Last Time I Saw Paris
(5:30)  6. I May Be Wrong
(6:13)  7. I'm Getting Sentimental Over You
(7:20)  8. There'll Be Some Changes Made
(7:42)  9. Wabash Blues
(5:24) 10. Yearning

This Swiss concert matches together the hot Australian cornetist Bob Barnard with the Canadian soprano saxophonist Jim Galloway and a top-notch Swiss rhythm section comprised of pianist Henri Chaix, bassist Isla Eckinger and drummer Romano Cavicchiolo. Although they mostly perform swing standards, the music is closer to Dixieland than swing with many freewheeling ensembles. Barnard is in generally good form and the highlights include "I've Got a Feeling I'm Falling," "Marie," "I May Be Wrong," "There'll Be Some Changes Made" and the often-overlooked tune "Yearning." Listening to this very coherent and swinging music, it is impressive to note that Barnard and Galloway had never played together before. ~ Scott Yanow  http://www.allmusic.com/album/whats-new-mw0000414819

Personnel: Bob Barnard (cornet); Jim Galloway (soprano saxophone); Henri Chaix (piano); Romano Cavicchiolo (drums).

What's New

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Matthieu Boré - Sometimes On My Own

Size: 104,8 MB
Time: 44:48
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz/Pop Vocals, Old Timey
Art: Front

01. The Way You Look Tonight (1:57)
02. Baby Face (2:42)
03. Georgia On My Mind (3:34)
04. But Not For Me (3:12)
05. Hold Tight, Hold Tight (2:11)
06. Just A Gigolo (3:24)
07. The Party (2:57)
08. On A Slow Boat To China (2:00)
09. Lazy Bones (3:24)
10. Cheek To Cheek (2:58)
11. My Blue Heaven (4:22)
12. Hong Kong Blues (2:35)
13. Gee Baby, Ain't I Good To You (3:15)
14. I'm Beginning To See The Light (2:30)
15. My Little Child (3:40)

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts, going as far back as an opera singing great grand-father. At age 7, Boré took his first piano lessons, and sang in various punk and trip hop outfits during the 1990s, before pursuing his love of vintage jazz music. In early 2000, the young pianist started playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination for 1950s R&B and R&B music, he issued Doo Wop (2003) and Sometimes on My Own (2007), the latter inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!, an album featuring a mixture of covers and Boré originals, with full orchestra.
Matthieu Boré has performed many concerts, including ones at the Festivals of Montreal and Jarasum in Korea, the New Morning and the Olympia. In 2011 he released a live album recorded at the Duc des Lombards. Roots, Matthieu's latest studio album, is a surprising cocktail — a strong dose of New Orleans funk, with all its nonchalance, predilection for acoustic sounds and syncopated grooves.

Sometimes On My Own

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Heather Pierson - Motherless Child

Size: 109,3 MB
Time: 46:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop/Blues Vocals
Art: Front

01. Junkies (3:28)
02. The Gumbo's Too Hot (3:16)
03. Is You Is, Or Is You Ain't My Baby (3:46)
04. Dirty No-Gooder's Blues (4:16)
05. Norwegian Wood (4:52)
06. I Loves You, Porgy (3:01)
07. Good Girl Blues (3:22)
08. Ain't Misbehavin' (2:52)
09. Motherless Child (6:38)
10. Peace (3:06)
11. Nobody Knows You When You're Down And Out (3:53)
12. When You Wish Upon A Star (4:05)

Recorded in rural Maine on an 1898 Steinway Model A in front of a live in-studio audience, this collection of inspired originals and renditions of blues and jazz standards promises to be her best release to date. In bringing a Dr.-John-meets-Dave-Brubeck sensibility to songs like “The Gumbo’s Too Hot” and embodying the very meaning of heartache in her Nina Simone-infused renditions of classics like “I Loves You, Porgy” and the stunning title track, Heather’s formidable talents as a vocalist, pianist, songwriter, arranger, and bandleader are on full display.

Motherless Child

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John Hart - Comfort Zone

Size: 132,1 MB
Time: 56:50
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: Mainstream Jazz
Art: Front

01. Charade (5:57)
02. Desalento (4:44)
03. Comfort Zone (4:10)
04. Dark Attitude (5:31)
05. Living For The City (5:34)
06. Michelle (4:51)
07. There Is No Greater Love (7:33)
08. I'll Get By (5:04)
09. Lonnie's Lament (7:25)
10. Moonlight In Vermont (5:57)

John Hart has performed and/or recorded with Jack McDuff, Jimmy Smith, Lou Donaldson, Chris Potter, Joey DeFrancesco, Randy Brecker, Bob Berg, Jerry Weldon and John Tendy. John is a veteran of the world famous Apollo Theater band in Harlem, NY. This is John's dabut recording with Index Jazz and he can also be heard on the Index collection: Index Jams Vol. 1, which features Joe Magnarelli, Jerry Weldon, John Tendy, and Akiko Tsuruga.

Comfort Zone

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Platina Jazz - Tokyo Express: Live In Concert

Size: 177 MB
Time: 75:42
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band, Vocals
Art: Front

01. The Galaxy Express 999 (Feat. Niklas Gabrielsson) (4:09)
02. Hajimete No Chuu (My First Kiss) (3:48)
03. Thanatos - If I Can't Be Yours (4:20)
04. Genesis Of Aquarion (Feat. Emily Mcewan) (5:10)
05. Miracle Girl (5:45)
06. Nausicaa Of The Valley Of The Wind (3:48)
07. Gravity (Feat. Emily Mcewan) (7:00)
08. Ready!! (5:22)
09. Chiisana Tenohira (4:26)
10. Stolen Moments (Feat. Niklas Gabrielsson) (4:36)
11. Medley: Sobakasu (Freckles)/Go! Go! Maniac/Hyadain's Kakakata Kataomoi-C/Waganawa Shougakusei/Enchanting Creamy (9:35)
12. 1/2 (6:30)
13. Fly Me To The Moon (Feat. Niklas Gabrielsson) (3:53)
14. Gotta Knock A Little Harder (Feat. Douglas Unger) (7:14)

With four studio albums behind them, the anime soundtrack covering Swedish jazz band led by producer Rasmus Faber are all set to release their first live album. Entitled Tokyo Express, the album includes completely new arrangements of Platina Jazz's favourite tracks taken from performances at the Billboard Live venue in Tokyo during 2013. And as a special bonus, a song that has never been played at all before by the band, Knock A Little Harder from Cowboy Bebop. Rasmus Faber comments: "this album is very important to us as it represents how jazz music should be heard, live! These tracks have never been performed in this way before. Although all but one song features on the previous 4 studio albums we have released, each arrangement on this live album is unique. We wanted to capture the essence of live performance. That unique moment in time that cannot be repeated, the energy and vibrancy of 12 very talented musicians working together in one space, harnessing the energy of the audience and giving them everything we have".

ALBUM CREDITS: Recorded Live at Billboard Live, Tokyo. Musicians: Vocals: Emily McEwan, Niklas Gabrielsson, Douglas Unger Piano: Martin Persson Bass: Martin Höper Drums: Ola Bothzen, Fender Rhodes: Rasmus Faber Hammond Organ: Carl Bagge Trumpet: Nils Janson Trombone: Karl Frid Alto Saxophone: Thomas Backman / Jonas Wall Tenor Saxophone / Flute: Andreas Gidlund / Kristian Harborg Baritone Saxophone / Flute: Kristian Harborg / Alberto Pinton Produced, mixed and mastered by Rasmus Faber Artwork designed: Tetsuo Inokawa Album cover illustration provided: Kenichi Yoshida Photography by Masanori Naruse

BACKGROUND ON PLATINA JAZZ: What do Japanese anime, a House music producer and a Swedish jazz band have in common? If your answer is "not much", then chances are you have yet to discover the unique style and blend of anime music and jazz sensibilities that can be done only by the group known as Platina Jazz. In 2008, Swedish DJ, pianist and producer Rasmus Faber spoke of his love for the musical complexity of anime music with his Japanese manager. They discussed different ways of interpreting anime music to bring it to a wider audience and bring out its musical qualities to the fullest. By a strange coincidence, the manager had just had a similar discussion together with music journalist Yuzuru Sato, who had been expressing his wish to select anime songs for a jazz cover project. And from that moment, the Platina Jazz project was founded to bring those dreams to life. Coming from a background of jazz music, Rasmus had all the right connections with jazz musicians in his home city of Stockholm, Sweden. The group's first volume, called "Anime Standards vol. 1" was released in 2009 to both critical acclaim and fan delight. Critics loved the "real jazz" sound of the album as performed by such talented musicians, and anime fans delighted to hear such carefully crafted versions of their favourite songs.

Tokyo Express

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Milana - Frozen Dream

Size: 143,8 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2014
Styles: Piano Jazz/New Age
Art: Front

01. Autumn Dream (2:25)
02. Falling Into You (3:18)
03. The Whispering Blaze Of Autumn (5:07)
04. Rainy Thoughts (4:25)
05. Childhood That Is Gone (3:29)
06. Shine On (2:23)
07. Looking Through A Frozen Window (3:26)
08. Frozen Dream (3:44)
09. Meltdown (4:10)
10. February Elegy (3:36)
11. From The Heart (2:30)
12. Tenderness (5:22)
13. Rhythms Of The Night (2:20)
14. Violet Dream (2:51)
15. Movement (4:41)
16. Waltzing At Dawn (5:28)
17. Autumn Dream (Bonus) (2:24)

Milana Zilnik, is one of the most popular piano players on the Soundcloud platform, with 20,000 followers and regularly appears in the “Piano Explore” section, which showcases the trending / most listened to tracks across the world. Milana’s music is very difficult to “pigeon hole”, as she covers such a wide variety of genre’s, from classical, to jazz, across to new age, romantic and then dashes of ambient in there as well. Milana sums it up best, when she says “many of my free flowing melodies and harmonies were born after listening to my favourite masters such as Chopin, Debussy, Chick Corea, Oscar Peterson & Keith Jarret.

"Frozen Dream" is the second solo piano (mostly) release from Milana this year and her fifth solo piano release in two years. This extraordinary artist has lived in a variety of cultures around the world, has had extensive musical training and has worked within a broad range of musical genres. Those influences serve her well and make her musical voice unique and distinctive. Frozen Dreams is a collection of seventeen improvisations that reflect on the seasons and their emotional impact on Milana’s soul. Many of the free-flowing pieces were created after listening to and being inspired by some of her favorite composers and musicians such as Chopin, Debussy, Chick Corea, Oscar Peterson, and Keith Jarrett. In the liner notes, Milana says: “Some of my compositions sound raw, spacious, hectic, edgy but more than anything I want them to be made for the love of the dreaming and the Harmony.”

"Frozen Dream" begins and ends with “Autumn Dream.” The first version is solo piano and the closing bonus track is orchestrated with strings and harp. Sweet and gentle with a dreamy flow, it’s a beautiful opening (and ending!). “Falling Into You” is somewhat edgier with jazz harmonies and a very spontaneous, introspective feeling. “The Whispering Blaze of Autumn” is a favorite. Spare and deeply emotional, the use of reverb creates an atmospheric backdrop to the haunting piano. Love it! “Looking Through a Frozen Window” has a lovely, melancholy cast. Some of the piece is smooth and flowing contrasted occasionally by the hard bite of icy cold. The title track also has the contrasting playing touches in a jazzier, freer style - another favorite. The lyrical “February Elegy” is a graceful, emotional heartbreaker that is SO beautiful! “From the Heart” lightens the mood considerably while “Tenderness” is so delicate it is almost fragile. “Violet Dream” is close to ambient in style, flowing freely and gently. Very expressive and just a little bit edgy, “Movement” would be an inspiring piece for a free-form dance.”Waltzing At Dawn” is a slow, romantic waltz for two set in the early-morning stillness, expressing warmth, contentment and a sense of freedom.

If you haven’t yet discovered the wonderful artistry of Milana’s music, this is a great place to start! Highly recommended! ~Kathy Parsons

Frozen Dream

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Jill Salkin - What The World Needs Now

Size: 118,4 MB
Time: 50:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. What The World Needs Now (4:27)
02. Feelin' Groovy (2:55)
03. You're Everything (4:22)
04. How Deep Is The Ocean (5:32)
05. Light Of Day (4:33)
06. Your Mind Is On Vacation (3:25)
07. Little Children, Be Free (3:54)
08. Stolen Moments (5:43)
09. Spring Will Come Again (3:11)
10. Joy Spring (3:38)
11. Summertime (5:51)
12. Every Little Light (3:17)

Jill Salkin's third release, "What the World Needs Now" is a treasure trove of beautifully sung jazz, blues, and classic pop. Jill has included four of her own compositions. The quartet consisting of piano, bass, drums, and guitar, joined by trumpet, flugelhorn, and sax, provide stellar playing and great solos. The fine arrangements and Jill's scatting add to the listening pleasure.

Jill's first release, "Heart's Desire" is a compilation of her original songs. Her second release, "The Very Thought of You", is a collection of jazz standards. "What the World Needs Now" gives the listener a broad palette of styles; the kind of mix that Jill does in live performance.

What The World Needs Now

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The Derek Paravicini Quartet - The Derek Paravicini Quartet

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 54:24
Size: 125,4 MB
Art: Front

(3:02)  1. Mir Bist du Schoen
(3:24)  2. Moanin'
(3:33)  3. Lullaby of Birdland
(4:11)  4. Crazy
(2:55)  5. Straighten Up and Fly Right
(2:16)  6. Sweet Georgia Brown
(4:14)  7. Autumn Leaves
(2:52)  8. Honeysuckle Rose
(2:58)  9. I've Got Rhythm
(5:35) 10. Somewhere Over the Rainbow
(3:32) 11. Night and Day
(2:59) 12. The In Crowd
(3:17) 13. Black Coffee
(1:44) 14. Take 5
(3:16) 15. Danny Boy
(4:26) 16. Air on a G String

The Derek Paravicini Quartet is the new must-hear group, currently wowing audiences all over the UK, following their successful debut on the BBC’s ‘In Tune’ programme. Four stunningly talented young musicians combine to create a unique sound, portraying a kaleidoscope of emotions now achingly sad, now humorous, now infused with warmth and all shot through with a fiery virtuosity. Derek Paravicini Quartet are a musical chameleon, able to change their sonic palette to suit any occasion, with the breathtaking new takes on classic songs and jazz standards, and a repertoire from ragtime to Radiohead, from Irving Berlin to the Beatles, from Cole Porter to Coldplay.  http://www.derekparaviciniquartet.com/

Personnel: Derek Paravicini - Piano; Hannah Davey – Vocal;  Ben Holder – Violin; Ollie Howell – Drums

The Derek Paravicini Quartet

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Annette Neuffer Quintet - The Art of Chet

Styles: Vocal And Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 57:21
Size: 134,5 MB
Art: Front

(5:04)  1. Line for Lyons
(4:51)  2. Look for the Silver Lining
(4:06)  3. The Art of Chet
(6:02)  4. The Song Is You
(6:21)  5. Remembering... That Old Feeling
(4:39)  6. But Not for Me
(4:43)  7. How Long Has This Been Going On
(3:52)  8. Long Ago and Far Away
(4:38)  9. Chet's Blues
(4:10) 10. Dinner
(3:17) 11. It Could Happen to You
(5:31) 12. Time After Time

Neither Annette Neuffer want to reproduce the music Chet Baker, heave still chatting with Chet whose inspiration over the Millennium, but simply prove a revered model reference, by singing some of his favorite songs and plays. As the late musical appointed Flügelhornistin discovered jazz, the music Bakers played no small role in their awakening - now came the years vocally long to personal maturity - love of improvised music. On their second CD "But Not For Me" is situated next to Favourites such as "Look For The Silver Lining" or even five elegant homage original text, melody and relaxed swinging performance quite successful overtures to Chet's Mood. Claus Koch, ts; Bernhard Pichl, p; Rudi Engel, b, and Jens Düppe, dr, do yours, so some throwback to the good old days to give a piece of contemporary gloss. ~ Tobias Böcker  http://www.annetteneuffer.de/press.htm (Translate by google)

Personnel: Annette Neuffer (vocals, Trumpet, flugelhorn); Claus Koch (tenor sax); Bernhard Pichl (piano); Rudi Engel (bass); Jens Düppe (drums)

The Art of Chet

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Bobby Hackett - Rosalie

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 87:09
Size: 202,9 MB
Art: Front

(2:04)  1. Rosalie
(2:43)  2. S'Wonderful
(2:41)  3. Oh Baby!
(2:33)  4. Royal Garden Blues
(3:01)  5. Struttin' With Some Barbecue
(3:04)  6. Fidgety Feet
(2:27)  7. Sunday Coots, Grey
(2:41)  8. I Found a New Baby
(3:03)  9. Baby Won't You Please Come Home
(2:17) 10. My Monday Date
(2:39) 11. If I Had My Way
(2:21) 12. C'est Magnifique
(2:49) 13. Cheek to Cheek
(2:08) 14. That Naughty Waltz
(2:16) 15. It's Been so Long
(2:38) 16. Spring Beautiful Spring
(2:47) 17. Paradise
(4:29) 18. That's a Plenty
(3:57) 19. It's Wonderful
(1:23) 20. Bye Bye Blues
(2:25) 21. (Back Home Again In) Indiana
(3:00) 22. Muskrat Ramble
(3:11) 23. Big Butter and Egg Man
(2:31) 24. Moonlight Becomes You
(2:44) 25. Moma's Gone, Goodbye
(3:31) 26. Way Down Yonder in New Orleans
(2:57) 27. Cocktail for Two
(2:26) 28. Everybody Loved My Baby (But My Baby Don't Love Nobody Buy Me)
(2:20) 29. Struttin' With Some Barbecue - Alternative Version
(4:52) 30. Royal Garden Blues - Live Version
(2:57) 31. Oh Baby

Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong. When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. 

Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. 

~ Scott Yanow, Rovi  http://www.shazam.com/discover/artist/9601/album/62033986

Rosalie

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Bucky Pizzarelli Trio - Three For All

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 64:57
Size: 149,3 MB
Art: Front

(5:22)  1. All The Things You Are
(7:50)  2. Body And Soul
(5:00)  3. Avalon
(5:41)  4. Snowfall
(5:17)  5. Stompin' At The Savoy
(7:12)  6. If I Had You
(3:01)  7. Stage Fright
(3:08)  8. It's Been A Long, Long Time-Don't Take Your Love From Me
(5:28)  9. Undecided
(3:10) 10. In The Dark
(5:38) 11. I'm Confessin'
(5:31) 12. Three For All
(2:38) 13. I Got Rhythm

Whose line is it anyway? No matter. Whether it’s jazz patriarch Bucky Pizzarelli or his son, fellow seven-string guitar master John, fashioning melodic embellishments and spinning single-note improvisations on Three for All, the level of musicianship is consistently high. What’s more, the same can be said for guitarist Ed Laub’s knowing support, scarcely a surprise given his long association with père Pizzarelli. Not surprising, too, are the songs chosen for this date. “Body and Soul,” “I Got Rhythm,” “All the Things You Are” and “Avalon” are among the vintage pop classics, while lesser-known tunes, including the Dick McDonough-Carl Kress treat “Stage Fright,” round out the collection. 

Even the most weathered selections, however, have a fresh allure after Bucky and John get their fingers on them. Strings of choruses dart along, then dovetail, then dart again. Blue notes tweak the melodies, harmonic substitutions add texture and color, tricky contrapuntal passages abound, and frequent surges of rhythmic propulsion make for some exhilarating moments. Offsetting the most vibrant trio performances are some soulful interludes, a dash of melancholy lyricism and the occasional, deftly executed duet, including a Bucky and Ed pairing. ~ Mike Joyce  http://jazztimes.com/articles/132462-three-for-all-the-bucky-pizzarelli-trio?

Personnel: Bucky Pizzarelli (guitar); John Pizzarelli, Ed Laub (guitar).

Three For All

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Ben Sidran - Blue Camus

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 45:09
Size: 103,5 MB
Art: Front

(6:58)  1. Soso's Dream
(4:45)  2. Blue Camus
(3:13)  3. "A" Is For Alligator
(4:57)  4. King Of Harlem
(6:20)  5. Rocky's Romance
(4:32)  6. Wake Me When It's Over
(7:23)  7. There Used To Be Bees
(6:58)  8. Dees Dilemma

Blue Camus is the follow up to Don’t Cry For No Hisper.  If the latter spoke to the hipster’s inner monologue, this project reflects the external input source that the hipster has been taking in.  The references in Blue Camus go back almost one hundred years to Garcia Lorca’s poetry (referenced in “The King of Harlem”), Orwell’s fantastic fiction (found in “A is for Alligator”) and a bit more recently to Albert Camus’ philosophy of existentialism. So there is a direct connection from the February afternoon in Mexico when I began writing the songs for Don’t Cry For No Hisper, a somewhat autobiographical, jaundiced view of today’s world through the eyes of a jazz man who has been around for several decades, to Blue Camus.  The classic hipster, as I see him, with his roots going back deep into the jazz life, was a reader of literature and a lover of philosophy, particularly, during the bebop era of the 40s and 50s.  

The starting premise of Camus’ existentialism can be compared to jazz in that in both jazz and existentialism, we begin with a world of open possibilities and rely on our own experiences and emotions to figure out the next move, rather than what we are taught or by following some other theory.  For Camus (and the beboppers) all thought originates in action just as all jazz music originates in swing, not notes. We may be confused, but that could be the good news, because so much is clearly going amok, if we thought we knew what we were doing and that this was it, we’d be in even worse trouble than we already are.  Make sense?  No? Welcome to existentialism! In a world that appears to be swallowing itself whole, jazz and literature, combined here as Blue Camus, provide a starting point to ask some questions about where we are and resolve them in swing. http://bensidran.com/album/blue-camus

Personnel: Ben Sidran - Wurlitzer, Piano, Vocals; Leo Sidran - Drums; Billy Peterson – Bass; Ricky Peterson – Organ; Bob Rockwell – Saxophone, Trixie Waterbed – Backing Vocals

Blue Camus

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Ben Wolfe - No Strangers Here

Styles: Straight-ahead/Mainstream
Year: 2008
File: MP3@320K/s
Time: 49:55
Size: 114,5 MB
Art: Front

(7:20)  1. The Minnick Rule
(2:31)  2. No Strangers Here
(3:52)  3. Milo
(3:34)  4. No Pat No
(7:55)  5. The Filth
(3:29)  6. Circus
(5:29)  7. Blue Envy
(7:17)  8. Rosy & Zero
(3:42)  9. Jackie Mac
(4:41) 10. Groovy Medium

Ever since the seminal Charlie Parker With Strings (Mercury 1950), numerous artists have attempted to add symphonic strings to jazz ensembles. Some have succeeded, but many have failed to capture a proper balance, resulting in string arrangements that sound superfluous. Bassist Ben Wolfe's fifth album, No Strangers Here, is one example of a successful merger of two worlds acoustic jazz quartet and classical string quartet. A compelling bassist, Wolfe came to prominence as a sideman for Harry Connick Jr., Wynton Marsalis and Diana Krall. He currently teaches at Julliard and is a member of the Jazz at Lincoln Center Orchestra. Augmenting a jazz combo with strings is not a novel idea for Wolfe, whose previous album, My Kinda Beautiful (Planet Arts Records, 2004) featured a brass heavy jazz octet with an eight piece string section. 

An extended suite, "From Here I See," was commissioned by the Rubin Museum and revolved around a jazz quartet/string quartet combo. Another long-form composition, "Contradiction: Music for Sextet" was the result of a commission from Chamber Music America. Wolfe's core quartet features saxophonist Marcus Strickland, pianist Luis Perdomo and drummer Greg Hutchinson, all rising stars on the New York scene who execute Wolfe's tightly arranged compositions with palpable commitment and panache. In addition, Wolfe regularly augments the quartet with a traditional string quartet, as well as a handful of special guests. At their most vigorous, Wolfe's pieces recall the forward thinking hard-bop of a mid-60s Blue Note date. "The Minnick Rule" and "Circus" are labyrinthine swingers filled with hairpin rhythmic shifts and understated string accents that resound with dramatic flair. A nostalgic air often permeates the session; the subtly integrated strings reinforce Wolfe's romantic side by adding a layer of euphonious lyricism to his sumptuous writing, most notably on the title track and "Blue Envy." The special guest appearances are well integrated. 

Terell Stafford's buttery trumpet soars on the spirited opening cut and offers supportive nuance on the wistful closer. Saxophonist Branford Marsalis and drummer Jeff "Tain" Watts provide muscle to the escalating drama of the noirish "The Filth" while Marsalis' soprano waxes lyrical on the effervescent "Milo." Victor Goines enriches the lush "Blue Envy" with his poetic bass clarinet. The album's string quartet tour-de-force, "Rosy & Zero," regales with expansive sonorities. Alternating austere chamber music inflected excursions with blistering post-bop interludes, the piece unfolds like a long lost, albeit highly successful, Third Stream experiment. From bittersweet nostalgia to cinematic drama, No Strangers Here encapsulates an array of moods, textures and dynamics. Reminiscent of the string augmented ensembles of Max Roach and Charles Mingus, Wolfe's double quartet emboldens the jazz tradition with neo-classical overtones, yet never fails to swing. To quote Wynton Marsalis, "Ben Wolfe swings with authority."     

~ Troy Collins http://www.allaboutjazz.com/no-strangers-here-ben-wolfe-maxjazz-review-by-troy-collins.php
 

Personnel: Ben Wolfe: bass; Marcus Strickland: tenor and soprano saxophone; Luis Perdomo: piano; Greg Hutchinson: drums; Cyrus Beroukhim: violin; Jesse Mills: violin; Kenji Bunch: viola; Wolfram Koessell: cello; Branford Marsalis: tenor and soprano saxophone (3, 5); Terell Stafford: trumpet (1, 10); Victor Goines: bass clarinet (7); Jeff "Tain" Watts: drums (5).

No Strangers Here

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Aga Zaryan - Picking Up the Pieces

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 44:46
Size: 102,9 MB
Art: Front

(3:26)  1. Day Dream
(4:23)  2. Throw It Away
(1:58)  3. Picking Up The Pieces
(4:21)  4. Woman's Work
(4:03)  5. Answer Me
(5:18)  6. The Man I Love
(5:03)  7. Here's to Life
(4:31)  8. It Might As Well Be Spring
(3:24)  9. Sophisticated Lady
(5:12) 10. Suzanne
(3:03) 11. Tender As a Rose

Gifted vocalist Aga Zaryan conveys the finest of the history of jazz to today's audiences, continuing the traditions of great artists like Shirley Horn, Carmen McRae and Joni Mitchell. Aga Zaryan is a producer and lyricist but first and foremost, a highly charismatic artist and personality. She has been successful in integrating ambitious artistic goals with popular appeal, recording four albums to date, all of which have earned gold, platinum or multi-platinum status in Poland. In 2008 she was honored with the Polish music industry's most prestigious prize - the Fryderyk Chopin Award. She was nominated for the title of Woman of The Year 2008 by Gazeta Wyborcza-Wysokie Obcasy, one of Poland's most influential and widely circulated newspapers. Aga was also named Jazz Vocalist of The Year in the European Jazz Forum Magazine's yearly Jazz Top readers' poll in 2007, 2008 and 2009. She has appeared in clubs and at festivals in Poland, England, the USA, Germany, Norway, Israel, the Czech Republic, Sweden, Norway, France, Montenegro, Bulgaria, Turkey, Portugal, Russia and Iceland. Aga Zaryan born January 17, 1976 is an internationally recognized jazz vocalist of the new generation. She is known for her distinctive style, class and intimate approach to singing, with a characteristic lightness of phrasing and warm, slightly matte-toned voice.  

Aga was born in Warsaw, Poland. Her father being a classical pianist, and her mother an English language educator and author, she travelled widely throughout Europe with her parents early on, spending part of her childhood and attending primary school in Manchester, UK. In addition to classical works, both of Aga's parents shared a passion for the music of Stevie Wonder, Weather Report, Jimi Hendrix, Bob Marley, The Beatles, and various other popular artists. This provided Aga with exposure to wide range of contemporary music, starting at an early age. After returning to Poland from the UK she became involved in playing tennis competitively, and went on to win the Warsaw Tennis Championship at the age of 14. More Bio ~ http://www.zaryan.com/index1.php

Awards:
'Best Polish Female Jazz Vocalist' Jazz Forum's Readers Awards 2007 & 2008 & 2009,  'Best Poetic Album' Fryderyk Award for 'Beauty is Dying' 2008, '50 Most Important Ladies of the Capital 2008' - Zycie Warszawy (Warsaw press), 'Best New Artist' Mateusz Award - Polish National Radio 3 award for 'Picking up the Pieces' 2007, Second Prize at the International Jazz Vocalists' Competition in Zamosc, PL - 1998 Nominations 'Woman of the Year 2008' - Gazeta Wyborcza magazine (Wysokie Obcasy) 'Wdechy' 2007 'Co Jest Grane' (Whats going on) magazine's Warsaw cultural awards, 'Best Polish Jazz Vocalist' Jazz Forum's Reader's Awards 2004 and 2005 'Best Jazz Album' "My Lullaby" Fryderyk 2002  ~ http://musicians.allaboutjazz.com/agazaryan

Picking Up the Pieces

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Barney Wilen - New York Romance

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:36
Size: 146,0 MB
Art: Front

(9:24)  1. No Problem 94'
(8:32)  2. Cry Me A River
(5:58)  3. Blues Walk
(7:28)  4. You'Ve Changed
(5:53)  5. You'D Be So Nice To Come Home
(8:19)  6. Mack The Knife
(7:26)  7. Don'T Fence Me In
(6:22)  8. Old Devil Moon
(4:10)  9. I Will Say Goodbbye

Alternating between soprano, tenor and baritone saxes in this collection of straight-ahead jazz for the Japanese market, Barney Wilen refuses to be pinned down to a single tone quality or approach, even on the same instrument. Among other things, he mimics the lagging phrasing of Lady Day on "You've Changed" on soprano, "Blues Walk" bumps along agreeably on baritone while "Old Devil Moon" is sustained and humorous, and "Mack the Knife" is converted into a glacial smoky ballad with almost casual nonchalance. Throughout, Kenny Barron gets acres of well-turned solo space  it's practically his gig, too  and Ira Coleman (bass) and Lewis Nash (drums) provide crisp underpinning. The further one goes in this collection, the more interesting and less predictable it sounds. ~ Richard S. Ginell  http://www.allmusic.com/album/le-ca-new-york-romance-mw0000647580

Personnel : Barney Wilen (soprano, tenor & baritone saxophones); Kenny Barron (piano); Ira Coleman (bass); Lewis Nash (drums).

New York Romance

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Cal Tjader - Black Orchid

Styles: Vibraphone Jazz, Latin Jazz
Year: 2014
File: MP3@320K/s
Time: 112:30
Size: 262,2 MB
Art: Front

( 3:24)  1. Black Orchid
( 2:53)  2. The Lady Is a Tramp
( 4:40)  3. Mambo At the M
( 3:52)  4. Come Rain or Come Shine
( 4:34)  5. Big Bear
( 2:20)  6. Mambo Macumba
( 3:04)  7. Have You Met Miss Jones
( 3:07)  8. Bei Mir Bist Du Schoen
( 3:48)  9. Liz-Anna
( 3:45) 10. Happiness Is a Thing Called Joe
( 2:09) 11. I've Waited so Long
( 3:23) 12. Running Out
( 3:12) 13. Close Your Eyes
( 2:40) 14. Contigo
( 2:29) 15. Bonita
( 2:45) 16. Fascinating Rhythm
( 3:58) 17. I've Grown Accustomed to Her Face
( 2:59) 18. Guarachi Guaro
( 2:42) 19. When the Sun Comes Out
( 5:14) 20. My Buddy
( 3:23) 21. Yesterdays
( 5:44) 22. For All We Know
( 8:21) 23. Crows Nest
( 2:05) 24. It Ain't Necessarily So
( 2:57) 25. For Heaven's Sake
( 3:43) 26. Viva Cepeda
(10:59) 27. Ginza Samba
( 3:02) 28. Out of Nowhere
( 3:03) 29. East of the Sun
( 2:00) 30. I Concentrate On You

This CD has all of the music originally on the two LPs Cal Tjader Goes Latin and The Cal Tjader Quintet. Since each album had two sessions apiece, the CD does a fine job of giving one a sampling of the influential vibraphonist's popular Latin jazz groups of the era. Among the key sideman are flutist Paul Horn; Jose "Chombo" Silva on tenor; pianists Lonnie Hewitt, Vince Guaraldi, and Manuel Duran; and Mongo Santamaria and Willie Bobo on percussion. The music (a mixture of Latinized standards and newer originals) is quite appealing, showing why this infectious blending of bop with Latin rhythms has always been one of the most accessible styles of jazz. ~ https://itunes.apple.com/us/album/black-orchid/id857634889

Black Orchid1

Black Orchid2

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Bill Frisell - Big Sur

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 64:35
Size: 149,5 MB
Art: Front

(3:45)  1. The Music of Glen Deven Ranch
(4:21)  2. Sing Together Like a Family
(0:52)  3. A Good Spot
(3:16)  4. Going to California
(2:43)  5. The Big One
(1:31)  6. Somewhere
(5:31)  7. Gather Good Things
(3:17)  8. Cry Alone
(1:39)  9. The Animals
(4:51) 10. Highway 1
(4:04) 11. A Beautiful View
(4:40) 12. Hawks
(1:39) 13. We All Love Neil Young
(3:05) 14. Big Sur
(2:01) 15. On the Lookout
(4:11) 16. Shacked Up
(4:10) 17. Walking Stick (for Jim Cox)
(4:14) 18. Song for Lana Weeks
(4:35) 19. Far Away

Most, if not all, musicians value the relationships both musical and friendship that they build over the years, but few are as loyal as guitarist Bill Frisell. One look at his various releases over the past couple of decades and it becomes instantly clear that, once he has established a successful working and personal relationship with another musician, he rarely ever calls on anyone else. With the exception of Rudy Royston who, since first collaborating with the guitarist in 2007, has regularly split the drum stool with Kenny Wollesen every member of the group on Big Sur has been Frisell's sole choice on their instruments. That degree of loyalty also has a lot to do with trust, something that all musicians need , but in particular for Frisell, whose music demands a kind of unspoken confidence in everyone's ability to not just contribute individually, but to come together as a whole far great than the sum of its parts.

Big Sur Frisell's debut for Sony's restarted Okeh imprint and the guitarist's return to a major label after spending a couple years on the independent Savoy Jazzbring s together two of his groups, the trio responsible for Beautiful Dreamers (Savoy Jazz, 2010) and his longstanding 858 Quartet, last heard on Sign of Life (Savoy Jazz, 2011). With violist Eyvind Kang (and, of course, Frisell) the connecting thread between the two groups, what Big Sur is, then, is a string quartet (with Frisell replacing one of the violins) with a stronger pulse.858 has, of course, always been able to shape its own rhythms, as it most assuredly did at its 2010 Ottawa Jazz Festival performance, but with the addition of Royston, it allows the music of Big Sur to unfold with an even stronger sense of groove...rocking out, even, as it does on "A Good Spot" and "The Big One," a riff-driven blues with a go-go beat that evokes images of the 1960s and the importance of the California area of Big Sur that, with its long stretches of surf-ready coastline, became an important focal point of inspiration for not just rock (The Beach Boys and, more recently, Death Can for Cuties), jazz (Charles Lloyd and classical (John Adams) music, but an important epicenter for photographers like Ansel Adams and writers like Jack Kerouac and Hunter S. Thompson.Frisell's 65-minute suite was commissioned by the Monterey Jazz Festival the absolutely appropriate source, situated, as it is, just north of Big Sur's largely unpopulated 90-mile stretch of coastline. 

Largely composed during a 10-day stay at Big Sur's Glen Deven Ranch and later rehearsed there by the entire quintet Frisell paying tribute on the opening "The Music of Glen Deven Ranch," which feels almost like an overture to a suite cinematic in scope and evocative of this unique place in the world it was a rare opportunity for Frisell, who seems to almost always be on the road or busy with a recording, to have some real down time to write.

The result is a work that somehow manages to evoke not just the part of the country which is its inspiration, but American music as a whole. There are, with Frisell now in his fourth decade as a recording artist, plenty of others informed by the humble guitarist's gentle yet, at times oblique lyricism, his ability to play even the simplest triad-based chord without losing his voice, and his unmistakable idiosyncrasies that render repeated readings of popular cover songs like Hank Williams, Sr.'s "I'm So Lonesome I Could Cry" utterly personal. But as much as certain Frisellian signatures have been seconded by others, he remains a guitarist often imitated but never duplicated. With Royston driving the group with a stronger pulse even on the more balladic tracks like "Song for Lana Works," featuring cellist Hank Roberts, or "Going to California," with Frisell's layers of overdriven, tremolo'd and ever-sweet clean tone at the fore Big Sur provides Frisell's 858 Quartet to be stronger and more immediate. And if Frisell's guitar remains unifying throughout, so, too, is the entire group's approach a constantly evolving one that, over the past several years and numerous permutations and combinations, largely supplants individualism with the mitochondria-leveled symbiotic synergism that defines Big Sur and demonstrates just how, with the seemingly mere addition of one musician in Royston, the collective multilateralism is significantly altered. That's not to say everyone doesn't get the chance to shine; only that it's less about creating a context for soloing and more about an instrumental mix that's constantly and organically shifting, so that Kang and violinist Jenny Scheinman interweave over Frisell and Roberts' pedal tone on the harmonically static, near-Celtic traditionalism of "The Animals," while cellist Hank Roberts rises to the top on the ethereal "Big Sur," doubling Frisell's serpentine melody while Scheinman and Kang's ascending and descending harmonies provide a gentle, constantly shifting foundation. 

There are numerous homages throughout Big Sur some direct, like the folkloric "We All Love Neil Young," a duet for Frisell and Kang; others more implicit, like the surf rock-inspired "The Big One" and more harmonically recondite "Highway 1," where Frisell's quirkier side comes forward." Together, Big Sur is an album that, as with other thematically conceptualized Frisell recordings like Disfarmer (Nonesuch, 2009) and History, Mystery (Nonesuch, 2008)an album that also expanded the 858 Quartet but, in that case, with a much larger configuration is best absorbed in its entirety rather than as individual tracks. Is it jazz? Hard to say. Does it matter? Not one whit. There's no doubt that the improvisational spirit of jazz imbues and informs Big Sur and its reliance on interpreting Frisell's all-original set of 19 miniatures (only one cracking the five minute mark, more than half coming in under four). Instead, Big Sur represents Frisell's ongoing consolidation and confluence of a growing number of touchstones and, after his focus on the music of John Lennon on All We Are Saying (Savoy Jazz, 2011) and subsequent touring in 2012 (including a transcendent Ottawa performance), is a superb and most welcome return to not just Frisell the wondrous guitarist, but Frisell the inimitable composer. ~ John Kelman  http://www.allaboutjazz.com/bill-frisell-big-sur-by-john-kelman.php=>

Personnel: Bill Frisell: guitar; Jenny Scheinman: violin; Eyvind Kang: viola; Hank Roberts: cello; Rudy Royston: drums.

Big Sur

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Ron Carter - San Sebastian

Styles: Jazz, Bop
Year: 2012
File: MP3@320K/s
Time: 55:49
Size: 127,9 MB
Art: Front

( 9:36)  1. Candle Light
(12:35)  2. My Funny Valentine
(10:23)  3. Saudade
(11:34)  4. Samba de Orpheu
(11:38)  5. The Golden Striker

The German In and Out label captured the sold-out performance of the Golden Striker Trio in San Sebastian on the last evening of their 2012 European tour. Bassist Ron Carter re-assembled with pianist Mulgrew Miller and guitarist Russell Malone, who had initially played together on the 2003 studio album The Golden Striker on Blue Note. The trio's moniker is borrowed from the John Lewis composition from 1960, a fitting name as the slightly introspective brand of chamber jazz is similar to the Modern Jazz Quartet but not quite as restrained. Alongside the John Lewis tune, the five tracks feature two Ron Carter compositions, "Candle Light" and "Saudade," the standard "My Funny Valentine," and Luiz Bonfá's "Samba de Orpheus." The limited-edition version of the CD also includes a bonus DVD of the concert with a rendition of Oscar Pettiford's "Laverne Walk," not available on the CD. ~ Al Campbell  http://www.allmusic.com/album/san-sebastian-mw0002462213
  
Personnel: Russell Malone (guitar); Mulgrew Miller (piano); Ron Carter (Bass).           

San Sebastian

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