Eliane Elias - Made In Brazil

Styles: Brazilian Jazz, Bossa Nova
Year: 2015
File: MP3@320K/s
Time: 57:26
Size: 132,7 MB
Art: Front

(4:39)  1. Brasil (Aquarela do Brasil)
(5:17)  2. Você
(5:50)  3. Águas de Março (Waters of March)
(4:49)  4. Searching
(5:02)  5. Some Enchanted Place
(4:49)  6. Incendiando
(4:37)  7. Vida (If Not You)
(3:28)  8. Este Seu Olhar / Promessas
(5:27)  9. Driving Ambition
(4:48) 10. Rio
(3:45) 11. A Sorte do Amor (The Luck of Love)
(4:48) 12. No Tabuleiro da Baiana

The music of Brazil extends far past the samba with a musical diversity as deep and rich as their citizens. Eliane Elias returned to her country of origin and recruited some of Brazil's finest musicians for a slightly more contemporary interpretation of this most influential music. While there is nothing lacking in authenticity, the sound is meticulously crafted and built around  improvisational music with an occasional classical flair. Six originals confirm her astounding compositional skill while her vocal style is beyond reproach.  

This music with one foot in the past but with both eyes on the future with guests and band members including Mark Kibble from Take 6, daughter Amanda Brecker and Marcus Teixeira. Made In Brazil ignites a slow romantic burn with tunes such as "Incendiano" and "Driving Ambition" thanks to the stellar contributions from Kibble. Another incredible highlight includes Amanda Brecker's appearance on the buoyant "Some Enchanted Place." Elias produces the release along with the help of critically acclaimed Steve Rodby and Marc Johnson. A true collaborative effort, it is the ability to nuance deceptively subtle sounds and textures that is the key to both the artistic brilliance of Elias and perhaps the best release of the year with Made In Brazil. Flawless. ~ Brent Black  http://www.criticaljazz.com/2015/02/eliane-elias-made-in-brazil-concord-2015.html

Made In Brazil

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Jeremy Davenport - We'll Dance 'Til Dawn

Styles: Vocal And Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 49:56
Size: 115,3 MB
Art: Front

(3:19)  1. Almost Never
(4:20)  2. When I Take My Sugar To Tea
(5:18)  3. That Old Black Magic
(3:35)  4. Mr. New Orleans
(5:18)  5. We'll Dance 'Til Dawn
(4:12)  6. There's a Small Hotel
(4:17)  7. The Lady Is a Tramp
(4:04)  8. Forever
(3:40)  9. By the Time I Get to Phoenix
(2:54) 10. I Could Hear Your Heartbeat
(5:07) 11. I Didn't Know What Time It Was
(3:45) 12. Come Rain or Come Shine

A blithely swinging crooner with a warm and jaunty improvisational style, trumpeter/vocalist Jeremy Davenport showcases his nightclub-honed charm on his third studio album and Basin Street Records debut, We'll Dance 'Til Dawn. A regular on the New Orleans music scene, Davenport made good on his '90s tag as Harry Connick, Jr.'s protégé by performing weekly at the Ritz Carlton Hotel in the French Quarter. If Davenport's 2005 concert album, Live at the Bistro, was an earthy, unpredictable, and unfiltered document of his nightclub act, then 2009's We'll Dance 'Til Dawn is the more refined and polished business card follow-up. 

Where Bistro showcased how Davenport a Missouri-born/N.Y.C. trained musician had fully steeped himself in the rhythmic gumbo of the New Orleans jazz tradition, We'll Dance 'Til Dawn is a dry martini of an album filled with crisp, urbanely delivered standards and supple afterglow ballads. In that sense, it's a much more modern take on the New Orleans tradition and frames Davenport in a wider lens than just a New Orleans act. Here listeners find more of Davenport's clever, Gershwin-esque originals like "Almost Never" and "I Could Hear Your Heartbeat." Equally as engaging are his cover choices, like his propulsive Latin-tinged take on "That Old Black Magic" and his surprisingly effective contemporary jazz reworking of Jimmy Webb's "By the Time I Get to Phoenix." That said, there's plenty of Southern hospitality here, including Davenport's playful duet with the famous city's other singing/trumpet-playing institution, Kermit Ruffins, on "Mr. New Orleans." 

A Davenport original, the track finds the two members of this dynamic duo celebrating and poking fun at their respective reputations, with the gruff Ruffins as "King of Treme" and the boyish Davenport as "Mr. Fancy Pants." It's a joyous wink of a tune and the type of track that only performers confident in their personas can get away with. Ultimately, that's the clearest thing about Davenport on We'll Dance 'Til Dawn he knows he's got you in a spin as long as he wants. ~ Matt Collar  http://www.allmusic.com/album/well-dance-til-dawn-mw0000820085

Personnel: Jeremy Davenport (vocals, trumpet); Kermit Ruffins (vocals, trumpet); David Torkanowsky (piano); George Porter, Jr., Roland Guerin (bass instrument); Troy Davis (drums, percussion); Herman Ernest, Herman V. Ernest III (drums); Michael Skinkus (percussion).

We'll Dance'Til Dawn

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Joe Turner - Joe's Back In Town

Bitrate: MP3@320K/s

Time: 56:01

Size: 128.2 MB

Styles: Blues piano & vocals

Year: 2008

Art: Front

[2:28] 1. Harlem Strut

[2:42] 2. Pastel

[2:46] 3. Honeysuckle Rose

[2:53] 4. Jitterburg Waltz

[3:30] 5. Tea For Two

[2:31] 6. Sweet Georgia Brown

[3:11] 7. Honey Hush

[2:15] 8. Route 66

[1:59] 9. Keep Off The Grass

[2:36] 10. Lulu's Back In Town

[1:59] 11. Thou Swell

[2:19] 12. Rejane Boogie

[1:57] 13. Argentina

[2:00] 14. Thou Swell (Take 4)

[3:09] 15. Tea For Two (Take 2)

[3:25] 16. Pastel (Take 1)

[2:16] 17. Route 66 (Take 3)

[3:14] 18. Honey Hush (Take 1)

[2:25] 19. Harlem Strut (Take 2)

[3:37] 20. I Cover The Waterfront

[2:39] 21. Route 66 (Take 2)

JOE TURNER, piano, vocals; ROLAND LOBLIGEOIS, bass; PANAMA FRANCIS, drums. Recorded in Paris, France, May 22, 1974.

Recorded over 30 years ago in Paris, this excellent album hasn't been available in what seems an eternity! Joe does Honey Hush; Harlem Strut; Sweet Georgia Brown; Thou Swell; Route 66 , and more. 21 tracks!

Joe's Back In Town 

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Van Morrison - Duets: Reworking The Catalogue

Bitrate: MP3@320K/s
Time: 76:43
Size: 175.6 MB
Styles: R&B, Rock, Blues, Soul vocals
Year: 2015
Art: Front

[5:15] 1. Some Peace Of Mind (With Bobby Womack)
[3:50] 2. If I Ever Needed Someone (With Mavis Staples)
[3:49] 3. Higher Than The World (With George Benson)
[6:23] 4. Wild Honey (With Joss Stone)
[3:43] 5. Whatever Happened To P.J. Proby (With P.J. Proby)
[4:54] 6. Carrying A Torch (With Clare Teal)
[4:12] 7. The Eternal Kansas City (With Gregory Porter)
[4:58] 8. Streets Of Arklow (With Mick Hucknall)
[3:52] 9. These Are The Days (With Natalie Cole)
[4:42] 10. Get On With The Show (With Georgie Fame)
[4:24] 11. Rough God Goes Riding (With Shana Morrison)
[6:42] 12. Fire In The Belly (With Stevie Winwood)
[4:00] 13. Born To Sing (With Chris Farlowe)
[5:15] 14. Irish Heartbeat (With Mark Knopfler)
[4:02] 15. Real Real Gone (With Michael Buble)
[6:34] 16. How Can A Poor Boy (With Taj Mahal)

On DUETS: RE-WORKING THE CATALOGUE, Van Morrison and the guests selected and recorded some of his songs from the catalog of 360 songs across his career. Deliberately steering away from his more well-known classics, Van enlisted some of the artists he most respects to perform these songs with him to re-craft and re-imagine them. The album was recorded in his home town of Belfast and London in the United Kingdom over the last year, using a variety of musicians and fresh arrangements.

Produced by Van Morrison along with Don Was and Bob Rock, the album features duet performances with Bobby Womack, Steve Winwood, Mark Knopfler, Taj Mahal, Mavis Staples, Michael Bublé, Natalie Cole, George Benson, Gregory Porter, Clare Teal, P.J. Proby, Joss Stone, Georgie Fame, Mick Hucknall, Chris Farlowe, and Van's daughter Shana Morrison.

Van Morrison is considered one of the most prolific recording artists and extraordinary live performers of our time. He has received a multitude of awards and accolades including 6 Grammy Awards, a Brit Award, an OBE, an Ivor Novello, and has been inducted in the Rock and Roll Hall of Fame. His visionary songwriting and mastery of many genres continues to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots. With one of the most revered catalogues in music history, his talents as a composer, singer and performer are unmatched.

Duets: Reworking The Catalogue

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Rita Coolidge - Out Of The Blues

Bitrate: MP3@320K/s

Time: 45:26

Size: 104.0 MB

Styles: Contemporary Blues vocals

Year: 2010

Art: Front

[2:53] 1. Mean To Me

[4:38] 2. Am I Blue

[3:07] 3. Hallelujah, I Love Him So

[5:01] 4. Stormy Monday

[5:14] 5. For The Good Times

[4:35] 6. Black Coffee

[3:54] 7. Bring It On Home To Me

[3:33] 8. Nobody Wins

[3:58] 9. The Man I Love

[4:02] 10. When The Night Rolls In

[4:26] 11. Out Of The Blues

Even though the duo-tone cover looks new and jazzy, most of this cozy set was recorded over twenty years ago. Primarily working with bass, drum and piano, the smoky-voiced chanteuse delivers these eleven songs with her own inimitably laidback vigor, performing best on moody ballads such as "Am I Blue," "Mean To Me" and "The Man I Love." Some of these tracks have appeared on Rita's albums during her A&M Records tenure in the 1970s, but most of them remained in the vault until now. It's a fine set with simple arrangements of chestnuts such as "Bring It On Home To Me" and the blues staple "Stormy Monday." Rounding the set out are two recent cuts, the Top 40-ish "When The Night Rolls In" and the bluesy "Out of the Blues." ~Bill Carpenter

Out Of The Blues

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Wild Bill Davison With Fessor's Big City Band - S/T

Bitrate: MP3@320K/s
Time: 60:05
Size: 137.5 MB
Styles: Dixieland
Year: 1997
Art: Front

[4:37] 1. Sweet Georgia Brown
[3:33] 2. Blue And Brokenhearted
[4:25] 3. I Can't Believe That You're In Love With Me
[4:03] 4. Do You Know What It Means To Miss New Orleans
[3:26] 5. Open Ears
[4:34] 6. General Booze
[3:15] 7. Blue Again
[4:06] 8. Louisiana
[2:25] 9. Keepin' Out Of Mischief Now
[4:06] 10. I Would Do Anything For You
[5:13] 11. Just A Closer Walk With Thee
[6:12] 12. Dyet
[6:55] 13. Sweet Lorraine
[3:10] 14. My Friend Bill

Recording Date: December 15, 1973 - December 11, 1978

Cornetist Wild Bill Davison spent a good amount of time in Scandinavia during the 1970s where he enjoyed playing with both Papa Bue's Vikings and Fessor's Big City Jazz Band. The latter group, led by trombonist Ole "Fessor" Lindgreen, is heard on this 1997 CD performing with the exciting cornetist in 1973, 1974, 1977 and 1978. The repertoire is primarily Dixieland and swing standards with a few departures (Johnny Hodges' "Open Ears," Neal Hefti's "Duet" and an original, "My Friend Bill") working out quite well. Some selections have Finn Otto Hansen or Verner Work Nielsen on trumpets, Steen Vig helps out on tenor and soprano and, on "Sweet Lorraine," the great pianist Ralph Sutton sits in. A typically spirited Dixieland-oriented set from Wild Bill. ~Scott Yanow

Wild Bill Davison With Fessor's Big City Band

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Paul Simon - Still Crazy After All These Years

Bitrate: MP3@320K/s
Time: 44:47
Size: 102.6 MB
Styles: Soft rock, Contemporary Pop rock,
Year: 1975/1987/2011
Art: Front

[3:23] 1. Still Crazy After All These Years
[3:49] 2. My Little Town
[3:31] 3. I Do It For Your Love
[3:36] 4. 50 Ways To Leave Your Lover
[2:54] 5. Night Game
[3:37] 6. Gone At Last
[3:10] 7. Some Folks' Lives Roll Easy
[3:23] 8. Have A Good Time
[3:16] 9. You're Kind
[4:00] 10. Silent Eyes
[5:27] 11. Slip Slidin' Away (Demo)
[4:36] 12. Gone At Last

The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks ("My Little Town" and "Still Crazy After All These Years") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another ("Gone at Last") returned to the gospel style of earlier songs like "Loves Me Like a Rock." Of course, "My Little Town" also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover," which became the biggest solo hit of Simon's career. But elsewhere, as on "Have a Good Time," the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance. ~William Ruhlmann

Still Crazy After All These Years

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Warren Vaché - Ballads And Other Cautionary Tales

Bitrate: MP3@320K/s
Time: 70:48
Size: 162.1 MB
Styles: Cornet jazz
Year: 2011
Art: Front

[5:04] 1. Ballad For Very Tired And Very Sad Lotus
[7:22] 2. Solitude
[7:39] 3. I See Your Face Before Me
[6:35] 4. Fools Rush In
[6:36] 5. I Have Dreamed
[6:02] 6. Autumn Serenade
[7:14] 7. Everything Happens To Me
[3:49] 8. I'll Only Miss Her When I Think Of Her
[6:49] 9. I'll Never Be The Same
[5:18] 10. Stairway To The Stars
[3:48] 11. I Remember You
[4:27] 12. Don't You Know I Care

Recording Date: October 6, 2010 & October 7, 2010

Young jazz instrumentalists often get carried away with showcasing their chops at a blazing tempo, while forgetting one important lesson known by successful veteran artists. The way a musician plays a ballad lets the listener know how good he is at telling a story; cornetist Warren Vaché is a seasoned improviser who caresses the melody as he improvises, making judicious use of rests, and he interacts with his musicians rather than simply keeping the spotlight on himself. Working with bassist Neal Miner, drummer Leroy Williams, and alternating between Tardo Hammer and Richard Williams on piano, Vaché explores a dozen ballads, most of which will be very familiar to seasoned jazz fans. "Ballad for Very Tired and Very Sad Lotus Eaters" isn't one of Billy Strayhorn's most commonly performed tunes, yet Vaché's poignant interpretation brings out its longing character, with lush held notes and just a touch of vibrato in all the right spaces; Tardo Hammer is often noted for his bop chops, but he is equally adept at providing understated accompaniment in a mainstream setting. Vaché's soft, muted horn proves captivating in his shimmering rendition of "I See Your Face Before Me," while his sassy open horn is on display in the whimsical setting of the old chestnut "I'll Never Be the Same." "(In My) Solitude" adds trombonist John Allred, who provides a perfect foil for the leader in a loping, easygoing setting of this gem by Duke Ellington. Tenor giant Houston Person is a guest on several tracks, and takes the lead in the bittersweet "Everything Happens to Me"; he follows Vaché's spry, breezy opening statement in "I Remember You," adding a punchy, vocal-like solo that one can't help but wonder if it's his tribute to his longtime musical partner Etta Jones. Warren Vaché's Ballads and Other Cautionary Tales is easily one of his finest all-around record dates. ~Ken Dryden

Ballads And Other Cautionary Tales

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George Benson & Jack Mcduff - George Benson & Jack Mcduff

Styles: Vocal, Guitar And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 65:48
Size: 151,3 MB
Art: Front

(4:44)  1. Shadow Dancers
(4:36)  2. The Sweet Alice Blues
(6:48)  3. I Don't Know
(3:00)  4. Just Another Sunday
(4:26)  5. Will You Still Be Mine
(6:36)  6. Easy Living
(3:57)  7. Rock-A-Bye
(2:57)  8. Hot Barbeque
(6:47)  9. The Party's Over
(2:54) 10. Briar Patch
(6:24) 11. Hippy Dip
(4:13) 12. 601 1/2 North Poplar St.
(4:46) 13. Cry Me a River
(3:35) 14. The Three Day Thang

George Benson's facile post-Wes Montgomery single-line and chord-accented style was well received in his salad days of the mid- to late '60s. Primarily self-taught and ear-trained, he made great strides in a five-year period around his native Pittsburgh, working with organist Jack McDuff on the East Coast chitlin circuit. As the soul-jazz and boogaloo movement was establishing itself, Benson was right in the pocket, as these seminal mid-'60s sessions perfectly illustrate. In tandem with saxophonist Red Holloway, the two Prestige label LPs New Boss Guitar and Hot Barbeque were initially reissued in 1977 on a vinyl two-fer, and now on this single CD. The first two tracks, "Shadow Dancers" and "The Sweet Alice Blues," sans McDuff though toeing the groove line, are the most original and modern numbers. The remaining tracks on the New Boss Guitar 1964 dates add McDuff, with "Just Another Sunday" a gold standard for the emerging style.

Benson's balladic expertise during "Easy Living" is as impressive as in the different dynamic of the rompin' stompin' "Rock-A-Bye." From May Day of 1965, the title cut and original version of "Hot Barbeque" has become an all-time hit and ultimate groove biscuit. Drummer Joe Dukes is the difference maker, as his fluid ease in either swinging or mixing hard bop with R&B fifty-fifty effectively drives the band so simply. "Briar Patch" approaches rock & roll, while "Hippy Dip" shows a completely unified Benson and McDuff on a fun melody line. A most arresting high-register organ sound, near unearthly, surrounds an easy swing on "The Party's Over." In addition, check out the slow late-night blues "I Don't Know" (from the 1964 dates) and "Cry Me a River" from 1965. Although Benson would reach a zenith in his short career as a jazz musician during this period, before abandoning its purity for commercial pop singing, Holloway and McDuff went on and on and on to their own great acclaim. This is Benson's initial emergence, and a valuable reminder of how great he once was. ~ Michael G.Nastos  http://www.allmusic.com/album/george-benson-jack-mcduff-mw0000584878

Personnel: George Benson (vocals, guitar); Jack McDuff (piano, organ, keyboards); Ronnie Boykins (bass guitar); Red Holloway (tenor saxophone); Montego Joe (drums, percussion); Joe Dukes (drums).

George Benson & Jack Mcduff

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Harry 'Sweets' Edison & Earl 'Fatha' Hines - Just You, Just Me

Styles: Trumpet And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 42:56
Size: 98,8 MB
Art: Front

(5:34)  1. I Cover The Waterfront
(7:42)  2. Just Squeeze Me
(4:59)  3. But Not For Me
(3:51)  4. Just You Just Me
(6:57)  5. Mean To Me
(9:38)  6. I Surrender Dear
(4:13)  7. The One I Love Belongs To Someone Else

Leave it to European labels like Black & Blue to come up with inspired pairings of musicians who American labels never seem to get around to considering. This 1978 meeting between pianist Earl Hines and trumpeter Harry "Sweets" Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel in the opening track, a strident take of "I Cover the Waterfront," with plenty of trills by Hines in support of Edison's brilliant open horn. Edison adds a mute for an exquisite, deliberate take of "Just Squeeze Me" and a sauntering "But Not for Me." Hines' dancing tenths come to the forefront in their romp through "Just You, Just Me." If there is any complaint about this exciting CD, it is that no alternate takes or unissued songs turned up on this CD reissue. There is nothing like two veterans at the top of their game joining forces for a record date. https://itunes.apple.com/us/album/just-you-just-me-definitive/id267348589

Personnel:  Harry Edison – trumpet; Earl Hines – piano.

Just You, Just Me

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Ida Sand - Young At Heart

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 50:49
Size: 116,9 MB
Art: Front

(3:32)  1. Cinnamon Girl
(3:13)  2. Hey Hey, My My
(4:24)  3. Don't Let It Bring You Down
(4:45)  4. Harvest Moon
(3:23)  5. Woodstock
(3:30)  6. Birds
(3:47)  7. Only Love Can Break Your Heart
(4:01)  8. Ohio
(3:28)  9. Old Man
(4:32) 10. Helpless
(4:16) 11. War of Man
(4:21) 12. One of These Days
(3:30) 13. Sea of Madness

The Swedish jazz singer Ida Sand comes from a musical family, her father was a famous opera singer, her mother made sacred music. Ida himself learned cello, before she began training as a singer. Meanwhile, the Swedish part of the leading group of Scandinavian jazz vocalists that have been discovered by the famous producer and trombonist Nils Landgren. Heidi Eichenberg presents our CD of the week. ~ Heidi Eichenberg

The Pensive, Moody is in the dark timbre of Ida Sands voice, already with their debut album, "Meet Me Around Midnight" was provided by the Swedish 2007 enthusiasm, because they stood out from the girly pop-jazz their Scandinavian colleagues Silje Nergaard or Rigmor Gustafsson. With gospel and soul she sat from the beginning to the black tradition of Nina Simone and Aretha Franklin, and on the other hand saw everything else as pale. Why born in 1977 as Ida Kristina sand Lund in Stockholm singer and pianist has now picked just the repertoire of Neil Young for their fourth album, she explains: "His music had something to tell me, I have heard a lot from him in recent years. It must have something to do with the mood of the songs that I also saw in me, but which you do not normally hear in my music. So I took his lyrics and his music before, and tried to take over this mood and still interpret the songs in my own way. I do not know if there are so many Neil Young fans among jazz-lovers - and as part of the plan was to bring the jazz listeners the music of Neil Young closer ". ~ Ida Sand 

The weather is supposed to be in Canada similar to "humble" as in Sweden, which could explain the melancholy which is sometimes the case with both cultures. The plan to take the spiritual minimalist songs of Neil Young as a template for an acoustic jazz album, but is bold. Neil Young's indestructible classics like "Cinnamon Girl" or "Harvest Moon" learn one way or another harmony in addition, chords and melodies to be reorganized by the double bass, keyboard, piano and drums and take the originals of the Canadian folk and rock singer / songwriter yet none of its melancholy magic.

"Young at Heart" - the title of the album is a love letter in a double pun and a celebration of melancholy. A melancholy in the Ida Sand recognize themselves and which gives the ageless songs by Neil Young not only with her voice an additional depth. Translate by google  http://www.mdr.de/mdr-figaro/musik/cd-der-woche-ida-sand-young-at-heart100.html

Young At Heart

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Suss Von Ahn - Walk Between The Raindrops

Bitrate: MP3@320K/s
Time: 57:38
Size: 132.0 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[2:46] 1. Walk Between The Raindrops
[3:14] 2. Waltz For Debby
[3:40] 3. It's Alright With Me
[2:24] 4. Night And Day
[4:06] 5. The Trolley Song
[5:22] 6. Bewitched, Bothered And Bewildered
[3:33] 7. My Baby Just Cares For Me
[4:58] 8. Both Sides Now
[2:44] 9. Night In Tunisia
[2:34] 10. It's Only A Paper Moon
[5:12] 11. A Nightinggale Sang In Berkeley Square
[3:24] 12. For Once In My Life
[3:25] 13. Too Darn Hot
[2:45] 14. What A Difference A Day Made
[3:00] 15. Don't Cry For Louie
[4:21] 16. Imagine

Suss von Ahn´s fourth album is a Jazz cover album with many of the songs that Suss sings live. From Donald Fagen, John Lennon to Cole Porter and Bill Evans. Including Johan Löfcrantz on drums, Martin Sjöstedt – Bass, Mathias Algotsson – Piano, Robert Nordmark – Tenor sax.

Walk Between The Raindrops

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Matt Ray - We Got It!

Bitrate: MP3@320K/s
Time: 53:29
Size: 122.5 MB
Styles: Piano jazz, Soul-jazz
Year: 2001
Art: Front

[3:24] 1. We Got It
[5:29] 2. Fish Night
[5:26] 3. El Gaucho
[6:01] 4. Think Of One
[5:22] 5. The Great Paper Chase
[4:12] 6. The Star-Crossed Lovers
[5:13] 7. Happier Than The Morning Sun
[5:27] 8. Sippin' At Bell's
[6:11] 9. Not Long Now
[6:39] 10. Vista

Recording Date: March 27, 2000

Pianist Matt Ray was only 28 years old when he recorded We Got It!, a promising debut album that unveils a wonderfully understated piano player searching for his voice. The songs here are actually quite diverse, including everything from a laid-back cover of Stevie Wonder's "Happier Than the Morning Sun" to the spaced-out slow jazz of "Think of One" to the winding horns and stuttered beats of "Great Paper Chase." His excellent piano playing takes front and center as he flows from track to track effortlessly. Unfortunately, the album still does not seem as though it has a distinct direction, despite all of the quality music found here. This may be because the album is his first, but it does detract from the overall feel of the album. This is still a good debut album, and would be of interest to any fan of piano-based modern jazz. ~Bradley Torreano

We Got It!

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Spanky & Our Gang - The Best Of Spanky & Our Gang

Bitrate: MP3@320K/s
Time: 31:27
Size: 72.0 MB
Styles: Folk rock, AM pop
Year: 2005
Art: Front

[3:01] 1. Sunday Will Never Be The Same
[2:35] 2. Making Every Minute Count
[3:06] 3. Lazy Day
[3:51] 4. Sunday Mornin'
[3:18] 5. Like To Get To Know You
[3:34] 6. Give A Damn
[3:19] 7. Yesterday's Rain
[2:54] 8. Anything You Choose
[2:30] 9. And She's Mine
[3:13] 10. Echoes (Everybody's Talkin')

Spanky & Our Gang is one of the great overlooked bands of the '60s. As in the case of other groups like the Monkees or Paul Revere & the Raiders, their chart success seemingly blinded people as to just how good they were. Like a more baroque Mamas & Papas, their strength was their amazingly constructed harmonies. They also boasted impressive songwriting from sources as diverse as Bob Dorough, Margo Guryan and Terry Cashman, wonderfully brassy lead vocals by Elaine "Spanky" McFarlane and charming blend of hippie sensibilities and old time show biz attitudes. This collection boils their short career (three albums in three years between 1966 and 1969) down to ten tracks and includes all their best songs, like "Sunday Will Never Be the Same," "Lazy Day," "Sunday Mornin'," "Like to Get to Know You," "And She's Mine" and "Give a Damn." It delivers quite a knockout punch, but the short format of the series doesn't allow for much exploration of the different aspects of the group. For a more expanded view of Spanky & Our Gang's talents, you might pick up their 1999 collection Greatest Hits as it has five more tracks, including their wild cover of "Brother Can You Spare a Dime" and a moving rendition of "Stardust." It also has all the tracks this disc does and is roughly the same price, leading one to wonder why the label felt the need to release this collection at all. ~Tim Sendra

The Best Of Spanky & Our Gang

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Coleman Hawkins Quartet - The Complete Jazz Sessions 1962 (2-Disc Set)

The sound of Coleman Hawkins (1904-1969) remains, after all these years, as immediately recognizable as his direct and compelling ability to swing. No jazzman played with more fire the uptempo tunes and no one could be more persuasive on ballads. With the fluent support of his then-regular rhythm section, he made these four excellent albums. Three "Good Old Broadway," "No Strings," "Make Someone Happy" which include jazz versions of Broadway show tunes, are from Prestige's Moodsville series. The fourth, "Today and Now," made for Impulse, explores everything from gentle, moody ballads and bluesy, mid-tempo pieces to some Hawk originals.

Overall, this 2-CD set is an interesting mixture of classics and undeservedly lesser-known compositions. Hawk gives each of these richly melodic songs a broadly warm and moving reading. Tommy Flanagan is his usual imperturbable, tastefully swinging self, intuitively grasping the feeling of the tunes and showing he was among the best pianists, technically and creatively, excellent as a soloist and a superb accompanist. On drums, Eddie Locke is typically capable, and bassist Major Holley contributes some delightfully humorous solos in a quartet that shows how to play firstrate, uncomplicated music.

Album: The Complete Jazz Sessions 1962 (Disc 1)

Bitrate: MP3@320K/s

Time: 79:48

Size: 182.7 MB

Styles: Saxophone jazz

Year: 2013

[4:31] 1. Don't Sit Under The Apple Tree

[5:31] 2. Swingin' Scotch

[9:52] 3. Put On Your Old Grey Bonnet

[4:20] 4. The Sweetest Sounds

[3:15] 5. Maine

[4:48] 6. A Fellow Needs A Girl

[4:08] 7. Here I'll Stay

[4:14] 8. Love Song From Apache

[4:41] 9. Don't Love Me

[4:12] 10. Get Out Of Town

[6:16] 11. Strange Music

[4:47] 12. Quintessence

[6:26] 13. Go Li'l Liza

[4:32] 14. Look No Further

[4:44] 15. I Believe In You

[3:25] 16. Have I Told You Lately

The Complete Jazz Sessions (Disc 1) 

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Album: The Complete Jazz Sessions 1962 (Disc 2)

Bitrate: MP3@320K/s

Time: 65:09

Size: 149.2 MB

Styles: Saxophone jazz

Year: 2013

Art: Front

[4:51] 1. Out Of My Dreams

[4:12] 2. Loads Of Love

[3:05] 3. Make Someone Happy

[2:25] 4. Wanting You

[4:06] 5. The Man That Got Away

[3:06] 6. Be My Host

[4:32] 7. Climb Ev'ry Mountain

[3:22] 8. Nobody Told Me

[5:58] 9. The Man Who Has Everything

[3:20] 10. La La La

[4:21] 11. I Talk To The Trees

[4:31] 12. Cry Like The Wind

[4:46] 13. No Strings

[7:48] 14. Wouldn't It Be Loverly

[4:38] 15. Smoke Gets In Your Eyes

The Complete Jazz Sessions (Disc 2)

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The New Orleans Swamp Donkeys Traditional Jass Band - Donkey Business

Bitrate: MP3@320K/s
Time: 28:56
Size: 66.3 MB
Styles: New Orleans jazz
Year: 2014
Art: Front

[4:22] 1. I Can't Stop Logging On Facebook
[3:40] 2. If You Are A Swamp Donkey
[4:55] 3. A Long Time Ago
[3:09] 4. Kick In The Head
[2:12] 5. The Butcher
[3:45] 6. Loose Booty Judy
[3:45] 7. If You Ain't Payin' We Ain't Playin', Baby
[3:05] 8. Dreamer

The Swamp Donkeys are an extremely versatile group of young musicians who play traditional jass, blues, vaudeville, original music, modern jazz adaptations, and many other jazz and New Orleans-derived styles. They have beginnings and educations in the authentic, New Orleans, grassroots music scene, playing local festivals and second lines, then transitions into world-class music education programs, playing in concerts all over the globe. Their sound is enormously accessible with their frontmen, the Louis Armstrong-sounding, soulful and sweet James Williams, and the audience-wooing, banjo-strumming, song-writing extraordinaire Sam Friend. (Though James does plenty of audience-wooing himself!)

The Swamp Donkeys can play large and small venues, intimate crowds and boisterous audiences just the same. Formed recently in the fall of 2012, the band is coming off of an extremely successful year. After selling out the Blue Note NYC in February of 2014, the Donkeys released two brand new albums "Swamp Donkey" (all pre-1930s covers) and "Donkey Business" (all original material). They closed out the first weekend of New Orleans Jazz and Heritage Festival. The group then gained international internet fame when their version of the Game of Thrones theme - performed at NYC's B.B. King's Blues Club - went viral, garnering close to a million views!

They followed up this success with a European tour featuring performances at JazzAscona in Switzerland, Vitoria-Gasteiz in Spain, the North Sea Jazz Festival in Netherlands, along with special appearances in France, Spain, and Monaco.

The Swamp Donkeys bring a remarkable, diverse appearance and sound to the stage; hailing from the south, north-east and -west, this melting-pot of American musical culture brings people together from all walks of life. Welcome to the most exciting, soulful, foot-tapping, New Orleans-style band to storm the planet in years. Welcome to Original Jass.

Donkey Business

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Clark Terry & Chico O'Farrill - Spanish Rice

Bitrate: MP3@320K/s
Time: 33:12
Size: 76.0 MB
Styles: Trumpet jazz, Mainstream jazz
Year: 1966/2004
Art: Front

[2:14] 1. Peanut Vendor
[2:37] 2. Angelitos Negros
[2:10] 3. El Cumbanchero
[3:34] 4. Joonji
[2:43] 5. Que Sera
[2:40] 6. Mexican Hat Dance
[2:43] 7. Spanish Rice
[2:27] 8. Say Si Si
[2:58] 9. Macarena
[2:44] 10. Tin Tin Deo
[2:58] 11. Contigo En La Distancia
[3:20] 12. Happiness Is

Recording Date: July 18 - 20, 1966

Clark Terry joined forces with Cuban bandleader Chico O'Farrill for these 1966 studio session, which consist almost exclusively of Latin tunes. Although there are a number of all-stars present in addition to Terry, including trumpeters Joe Newman, Ernie Royal, and Snooky Young, along with guitarists Everett Barksdale and Barry Galbraith, the solos are all by Terry, so there is little interaction in these brief charts. Terry is in top form, as always, with his rich flügelhorn in "Angelitos Negros" and his fat-toned trumpet in an original blues called "Joonji." Terry and O'Farrill collaborated on the narrative comic original "Spanish Rice," though it isn't particularly memorable. Terry's modification of the lyrics to "Happiness Is" salutes a number of fellow jazz greats (particularly his impression of Louis Armstrong's singing), though the anonymous vocal group that accompanies him is quite forgettable. This is a fun recording that had the potential to be a memorable one, but it falls a bit short. ~Ken Dryden

Spanish Rice

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Maria Anadon - Why Jazz?

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 52:56
Size: 121,6 MB
Art: Front

(4:13)  1. Going to Chicag Blues
(5:21)  2. Angel Eyes
(3:26)  3. Up and Fly Right
(7:20)  4. Caravan
(3:48)  5. My Foolish Heart
(3:43)  6. Someone Else Steppin'in
(4:18)  7. 'Round Midnight
(6:37)  8. Ask Me Now
(4:39)  9. Dindi
(6:03) 10. But Beautiful
(3:23) 11. Mercy, Mercy, Mercy

Maria Anadon's musical passion, intellect, and creativity are perfectly matched with her intuitive understanding and interpretation of lyric and melody, as well as her superior gift of "scat." She easily transitions between the world of traditional jazz, Fado, Afro-Cuban, Brazilian, fusion and the like. As one critic stated:  Maria sings with the confidence and sophistication of one who feels and convincingly expresses the true meaning of every word she says and every note she sings. For years the press questioned Maria Anadon, "Why jazz?" In 1995 she finally responded with her first CD, supported by the Portuguese Ministry of Culture, and named it Why Jazz? Backed by the all-woman American jazz quartet Unpredictable Nature and sung completely in English, Maria included her answer in the CD's liner notes… "That's why!" 

In 1998 Maria released her second CD Cem Anos (Movieplay/Groove Records), which is a compilation of beautiful themes taken from the soundtracks of notable Portuguese films. Contemporary Portuguese composers, such as Antonio Pinho Vargas, Carlos Paredes, Manuel Jorge Veloso and Tomas Pimentel contributed works to this CD, as did several of Portugal's most modern poets. With music spanning almost a century, Maria's extraordinary voice is used not only as an interpreter of stunning lyrics, but also as a literal instrument, sometimes enhancing the instrumental sections. This CD encompasses styles ranging from Lisbon Fado to Afro-Cuban, Brazilian and New Orleans Jazz.  Following Cem Anos Maria collaborated with Maestro Antonio Saiote and the Orquestra Invicta de Clarinets to record another soundtrack CD, featuring movie themes from North America. In 2000 Maria began working with the Italian pianist Arrigo Cappelletie on a project combining Fado, Jazz and original lyrics composed by contemporary Portuguese poets such as Fernando Pessoa, Alvaro de Campos, Sofia de Melo Breyner and others. Simultaneously she premiered her new group Terra d' Agua (Forest Hill Records) and their CD Viagem de um Som.

Shortly after Terra d'Agua, Maria formed the Maria Anadon Ensemble, fusing world music with traditional jazz. In addition to innovative arrangements, this group's unique instrumentation features Davide Zaccaria on cello, Arnaldo Fonseca on accordion and Jose Soares on guitar.In addition to Maria's busy and eclectic performance and recording schedule she also teaches at Musicland in Mafra, maintains a private voice studio and activity presents vocal workshops and master classes throughout Europe. Maria's newest project was recorded in the United States with the critically acclaimed ensemble FIVE PLAY. Supported by the Portuguese Ministry of Culture, her new CD is scheduled for release in the Fall of 2006.  http://www.divajazz.com/personnel/personnel/maria.html

Personnel:  Maria Anadon (vocals);  Carol Chaikin (flute, soprano saxophone, alto saxophone);  Roberta Piket (piano);  Sherrie Maricle (drums).

Why Jazz?

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Jared Gold - Intuition

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 47:40
Size: 109,5 MB
Art: Front

(4:42)  1. Will You Love Me Tomorrow?
(5:02)  2. The Crusher
(5:27)  3. Pro Zeca
(5:21)  4. Hoopin' On Sundays
(5:20)  5. You've Got A Friend
(5:05)  6. Shadowboxing
(4:30)  7. Right Nowish
(5:41)  8. As It Were
(6:29)  9. Bedo's Blues

Intuition is organist Jared Gold's sixth outing for the Posi-Tone label in as many years. He walks a similar path on all of his prior dates for this imprint, extending the organ group tradition(s) while fronting trios and quartets and working his way through catchy originals and diverse covers, but no two albums are really the same. Part of the reason for this has to do with his personal growth as an artist, but the more significant factor surrounds the shuffling of personnel; Gold has never used the same combination of musicians on more than one album, so he's never had to worry about falling into a same-old-sound rut.

Some people have popped up on more than one of his records, like guitarist Ed Cherry and drummer Mark Ferber, but never as part of the same unit. Both musicians who join Gold on Intuition guitarist Dave Stryker and drummer McClenty Hunter have also appeared with him on different albums in the past, but 2013 seems to be the year they were all destined to join together; Gold and Hunter also appear on Stryker's Blue To The Bone IV (SteepleChase, 2013), which hit shelves shortly before this album.

Four Gold pieces, two Stryker songs, a pair of classics from Carole King's landmark, Tapestry (Epic, 1971), and a fusion-y take on Victor Assis Brasil's "Pro Zeca" make up the program, which starts off on mundane ground but gets better with each number. The first two pieces on the album King's "Will You Still Love Me Tomorrow?" and Gold's "The Crusher" begin with some promising ideas but take turns toward the pedestrian during swing-backed solo sections. The third song Brasil's "Pro Zeca" comes off like a '70s Chick Corea tune performed at Carnaval; this performance turns everything around. The music that follows is full of energy and enthusiasm of the funky ("Hoopin' On Sundays"), soulful ("You've Got A Friend") and feisty ("Shadowboxing") varieties. Things do take a mellow turn on the penultimate performance ("As It Were"), but it's a welcome respite from the heat at that point in the album. It's not clear whether musician's intuition or other factors led Gold to select these men for this project, but they were the right choice. Together, Gold, Stryker and Hunter have a blast, and their enthusiasm is contagious. ~ Dan Bilawsky  http://www.allaboutjazz.com/intuition-jared-gold-posi-tone-records-review-by-dan-bilawsky.php
 

Personnel: Jared Gold: organ; Dave Stryker: guitar; McClenty Hunter: drums.

Intuition

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Earl Hines - '65 Piano Solo

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 35:37
Size: 82,0 MB
Art: Front

(8:18)  1. Hines '65
(4:11)  2. If I Could Be With You (One Hour Tonight)
(4:08)  3. My Blue Heaven
(4:08)  4. I Know a Little Bit About a Lot of Things
(4:16)  5. Serenade in Blue
(2:33)  6. I Know That You Know
(3:17)  7. Huntin'
(4:43)  8. The Midnight Sun Will Never Set

Earl Hines was in the midst of a major comeback at the time of this studio session, recorded in London in 1965. After years on the sidelines, primarily playing Dixieland, he firmly established himself as an in-demand solo pianist. The opening track, "Hines '65," is an elaborate, inventive blues that showcases his formidable technique. The pianist's version of "I Know That You Know" may not reach the heights of Art Tatum's dazzling recordings, but his chops are never in doubt throughout this romping arrangement. Most of the rest of the session is devoted to low-key ballads. His stride roots come out in a playful rendition of James P. Johnson's "If I Could Be With You (One Hour Tonight)," while "My Blue Heaven" is every bit as lyrical. "I Know a Little Bit About a Lot of Things" is a somewhat obscure tune written by Peggy Lee and her then-husband, Dave Barbour; Hines adds his friendly vocals to his fairly straightforward interpretation. This is easily one of Earl Hines' best solo albums, finally reissued on CD in 2002. ~ Ken Dryden  http://www.allmusic.com/album/65-piano-solo-mw0000614741

'65 Piano Solo

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