Joscho Stephan - Django Nuevo

Bitrate: MP3@320K/s

Time: 48:43

Size: 111.6 MB

Styles: Gypsy swing

Year: 2010

Art: Front

[3:06] 1. Stomp

[3:03] 2. So Rare

[1:59] 3. Rondo Alla Turca

[5:02] 4. If I Had You

[3:43] 5. San Vincenco

[2:29] 6. Django Nuevo

[3:25] 7. Four Brothers

[7:04] 8. You Are So Beautiful (Medley With Smoke Gets In Your Eyes)

[3:33] 9. Sway

[3:11] 10. Body And Soul

[4:06] 11. You Made Me Love You

[3:05] 12. Michelle

[3:15] 13. Song For Oscar

[1:36] 14. Revelations

Joscho Stephan, more than any other artist, has influenced modern gypsy swing with his playing: Thanks to his authentic tone, his harmonic refinement and sense of rhythm, but above all, his breathtaking solo technique, Stephan has earned himself an outstanding reputation on the international guitar scene with his playing. This master guitarist from Mönchengladbach is now honoring Django Reinhardt on the occasion of the 100th birthday of the father figure of gypsy swing. With his homage, “Django Nuevo”, Joscho Stephan towers over the abundance of current adaptations. He does not, once again, render such ubiquitously known classics as „Nuages“ or „Minor Swing”, but rather pays tribute to the master with five own compositions. By the same token, he reveals himself as a visionary by using 9 compositions by other artists to connect gypsy swing with Latin, classical and pop. The album presents, among others, Santana‘s „Revelations“, Mozart‘s “Turkish March”, and “Michelle” by the Fab Four in brand new and imaginative gypsy swing versions, with Stephan‘s father Günter on rhythm guitar, Max Schaaf on bass and Sebastian Reimann on violin. As for Joscho, a virtuoso of the Maccaferri guitar, he reveals himself to be an original interpreter and a fantastic soloist, whose explosive dynamics, filigree nuances and surprising phrasings confirm his reputation as an original innovator of the genre. With “Django Nuevo”, Joscho Stephan has managed to create a wonderful homage that the legendary master of gypsy swing would surely have been proud of.

 

Django Nuevo

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Joe Cohn - Emeryville Sessions Vols 1 & 2

Album: Emeryville Sessions Vol 1: Marathon Man
Bitrate: MP3@320K/s
Time: 74:36
Size: 170.8 MB
Styles: Hard bop, Guitar jazz
Year: 2014
Art: Front

[4:38] 1. Speedball
[6:54] 2. Autumn Nocturne
[7:30] 3. I Concentrate On You
[5:46] 4. God Bless The Child
[5:30] 5. Cohn On The Cob
[4:44] 6. Mama Flosie
[5:06] 7. Trick Bag
[5:05] 8. Bittersweet
[6:24] 9. The Very Thought Of You
[6:17] 10. Estate
[4:04] 11. U.M.M.G.
[6:29] 12. If Ever I Would Leave You
[6:03] 13. Turn Around

Drums – Akira Tana; Guitar – Joe Cohn; Organ [Hammond B-3] – Joe Bagg; Tenor Saxophone – Dayna Stephens.

Guitarist Joe Cohn, son of the late great, Al Cohn in trio and quartet setting playing standards. Joe Bagg on Hammond B3, Akira Tana on drums and Dayna Stephens on tenor on a few tracks. A blowing session displaying Joe's incredible improvisatory skill

Emeryville Sessions Vol 1: Marathon Man

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Album: Emeryville Sessions Vol 2: S'posin'
Bitrate: MP3@320K/s
Time: 58:52
Size: 134.8 MB
Styles: Hard bop, Guitar jazz
Year: 2015
Art: Front

[3:34] 1. S'posin'
[5:23] 2. The Gentle Rain
[7:09] 3. All Too Soon
[4:37] 4. Autumn In New York
[6:15] 5. Emily
[5:56] 6. How Am I To Know
[7:24] 7. I Hadn't Anyone Til You
[8:20] 8. People Will Say We're In Love
[4:27] 9. Skylark
[5:42] 10. When Lights Are Low

Drumless Trio music of classic standards featuring the great sax sounds of Noel Jewkes, the inventive guitarist, Joe Cohn and the very supportive bassist, John Wiitala.

I don’t know if you’ve noticed it but in the last five years there has been an increase in the number of trios in jazz. Of course the piano-bass-drum configuration has been with us for a long while and new ones are continually cropping up, but I’m talking about the trios that leave out piano, or bass or drums. That is the make up of the Emeryville three: Joe Cohn, guitar; Noel Jewkes, tenor sax; and John Wiitala, bass. All that matters is, “Does it work?”

With everyone taking serious care of their solo roles and ensembles, creating moving backgrounds for one another, trading “fours”, etc. and in general on the same page with passion and poise, these attributes are more than adequately provided in these offerings. A key factor in their inspiration is the roster of composers and the list of songs chosen to play. Producer Akira Tana, a noted, longtime professional drummer, explained that the sessions were free-wheeling and the choices for the material were made on the spot. Joe, Noel and John called the tunes, roughly made a sketch of a format, and played. “I liken these sessions to a marathon because so much was recorded,” said Akira. “ There were no rehearsals and the sessions were really in the tradition of recordings from another era. No overdubs or fixes—all live performances captured here.”

Joe Cohn employs many creative techniques to express his style. Notice his articulation on “All Too Soon”; the counterpoint that he and Noel bring to a section of “How Am I to Know,” a hauntingly beautiful song from way back, written by one Jack King with words (unheard) by Dorothy Parker. the rapier wit of the storied Algonquin Round Table. “People Will Say We’re In Love” contains Joe’s long, connective lines. It is no longer necessary to refer that Joe is the son of the great saxophonist Al Cohn but the apple falls close to the tree. ~Ira Gitler

Emeryvillesessions Vol 2: S'posin'

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Eddie Palmieri - Sugar Daddy

Bitrate: MP3@320K/s
Time: 76:54
Size: 176.1 MB
Styles: Salsa
Year: 1964/2009
Art: Front

[2:41] 1. Ritmo Caliente
[2:46] 2. Mi Mambo Conga
[2:32] 3. Bailare Tu Son
[9:27] 4. Azucar
[4:16] 5. Tirandote Flores
[5:41] 6. Que Suene La Orquesta
[2:28] 7. Tema Del Apollo
[2:47] 8. No Critiques
[5:02] 9. Melao Para El Sapo
[6:31] 10. Cafe
[2:52] 11. Te Quiero, Te Quiero
[3:59] 12. Muneca
[2:42] 13. Conmigo
[3:56] 14. Lo Que Traigo Es Sabroso
[3:46] 15. Estamos Chao
[5:41] 16. Bomboncito De Pozo
[2:54] 17. Manha De Carnaval
[2:46] 18. En Cadenas
[4:01] 19. Campesino (El Pregon De La Montana)

An excellent recording by Eddie Palmieri & company. In reality, Palmieri has been amazingly consistent with his musical quality. Pick from any of his recordings and you'll find (with very few exceptions), his work to be always top notch. In this album, recorded in 1964, Palmieri & Conjunto La Perfecta cooks it up just right. The arrangements are clear and focused and suprisingly, do not sound dated at all. The brass section is tight and though there are no extended solos (that would come in later releases) they more than make up for it in harmonic interplay. The percussion section rivals the best of any group past or present. What you get here is conjunto workmanship at it's best. A beautiful album, well put together and crisply recorded. A young Ismael Quintana is heard on vocals doing what he has always done best, Sonear with sabor y dulzura. One of the best albums released by one of Palmieri's best bands. You can't go wrong with Palmieri and this one is no exception. ~Canuco

Sugar Daddy

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Brian Bromberg - Downright Upright

Bitrate: MP3@320K/s
Time: 69:45
Size: 159.7 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[7:31] 1. Cantaloupe Island
[6:56] 2. Mercy Mercy Mercy
[6:19] 3. Cold Duck Time
[6:39] 4. Sunday Mornin'
[6:31] 5. The Hacha Cha Cha
[8:49] 6. Chameleon
[4:41] 7. Serengeti Walk
[7:42] 8. Leisure Suit
[6:06] 9. Slow Burn
[8:27] 10. Shag Carpet

Retro-inspired grooves can mean a lot of things—it depends on how far back one wants to go. On Downright Upright, bassist Brian Bromberg takes a retro tour of the era when Freddie Hubbard and Herbie Hancock were reaching a peak. Joe Zawinul and Eddie Harris were changing the scope of jazz. Weather Report was in, and jazz was changing rapidly. The umbrella was opening up to include innovative ideas and comfortable melodies that lingered in the mind for a lifetime.

Working with a crew that normally reserves its studio and stage time for smooth jazz or a similar, pop-inspired, contemporary form, Bromberg brings his big bass and piccolo bass aboard for a veritable party. He and his sidemen inject plenty of life into the scene on Downright Upright, honoring the jazz legends who have paved the way. These are no mere sidemen with Bromberg, either. Each brings a veteran's feel for contemporary jazz to the session, giving the bassist a rich palette from which to select. George Duke's piano solo on "Chameleon, for example, provides one of the session's high points. The others join Bromberg in creating several more plateaus on a session that comes recommended for its broad appeal and for its unmistakable groove.

The bassist solos frequently on both his acoustic bass and his electric piccolo bass with an expressive nature that finds him tearin' up the strings passionately. The sound of the smaller instrument resembles that of a bass guitar as Bromberg applies it to "Chameleon, "Leisure Suit, "Slow Burn and "Cold Duck Time. His five original compositions maintain the momentum found in the album's first three tracks, while his covers of older familiar tunes prove satisfying. Bromberg's "Sunday Mornin' and "Shag Carpet capture a pure gospel mood that rocks the roof beams, while Dave Grusin's "Serengeti Walk, a smooth jazz outing that features guitarist Lee Ritenour, simmers in the afternoon sun. As evidenced by Downright Upright, retro grooves from a lyrical bassist like Brian Bromberg can seem as natural as sunshine on Hollywood Boulevard at noon. The mood that he creates, however, could steal the hearts of millions. ~Jim Santella

Brian Bromberg: upright bass, piccolo bass; Rick Braun: trumpet, flugelhorn; Boney James, Gary Meek, Kirk Whalum: tenor saxophone; Lee Ritenour, Gannin Arnold: guitar; George Duke: piano; Jeff Lorber: piano, organ; Vinnie Colaiuta: drums.

Downright Upright

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Les McCann - For Carl Perkins

Bitrate: MP3@320K/s
Time: 71:23
Size: 163.4 MB
Styles: Hard bop, Soul jazz, Piano jazz
Year: 2012
Art: Front

[5:36] 1. For Carl Perkins
[3:35] 2. Jubilation
[4:23] 3. A Little ¾ For God & Co
[3:16] 4. This Can't Be Love
[6:22] 5. But Not For Me
[7:13] 6. C-Jam Blues
[7:35] 7. I'll Remember April
[6:00] 8. Night In Tunisia
[7:45] 9. A Foggy Day
[7:32] 10. Tellin' 'em About It
[3:19] 11. The Shout
[6:01] 12. How High The Moon
[2:40] 13. Cute

Recorded June 1960. The Carl Perkins referred to here is the bop-oriented pianist from Indianapolis and not the Carl Perkins of "Blue Suede Shoes" fame.

Born in Lexington, KY, in 1935, pianist Leslie Coleman McCann settled in Los Angeles in 1956. He emerged from obscurity after cutting “The Truth”, his first trio record, in February 1960, in which the walking bass of Leroy Vinnegar and direct swing of drummer Ron Jefferson were the perfect esthetic compliment to McCann’s music.

During the next few years he was the focus of widespread controversy as an exponent of a brand of piano jazz variously called Gospel, funk, soul, blues, back-to-the-roots, etc. While McCann acknowledged that almost all his relatives had sung in the church choir in Lexington, he said his music was a product of his early environment and no gimmick. “The way we play just fitted together as soon as Leroy and Ron and I first got together. We just started playing together, and it all made sense.”

For Carl Perkins

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Laura Wolfe - He Loves Me, He Loves Me Not

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 44:52
Size: 103,2 MB
Art: Front

(2:53)  1. Love Me Or Leave Me
(3:26)  2. It's So Nice To Have A Man Around The House
(3:03)  3. Exactly Like You
(4:49)  4. Where Can I Go Without You?
(2:34)  5. Can't We Be Friends?
(3:25)  6. My One And Only Love
(6:20)  7. I Got It Bad And That Ain't Good
(3:36)  8. My Baby Just Cares For Me
(3:13)  9. Mean To Me
(3:41) 10. East Of The Sun (West Of The Moon)
(3:58) 11. How About Me?
(3:49) 12. No Regrets

"Laura Wolfe makes my ears happy. Great style. Great interpretation." ~ Lou Powers, WBCB 1490 AM Philadelphia

"Laura Wolfe’s lovely voice glides effortlessly through precise arrangements of tunes from the “Great American Songbook.” She’s faithful to the words and music of the lyricists and composers, but her distinctive style stands out as she caresses your ears. Watch out world, here she comes. This lady can sing!" ~ John Bohannon, WRHU 88.7 FM New York

"...Laura Wolfe could be a real contender. Her first album is a winner. Taking on a dozen old standards, she sings them with zip on the up-tempo numbers and wistfulness on the ballads ...has a very good handle on the melodies and sense of the lyrics ...her phrasing is quite fresh in the very often recorded and performed classics ...another strength is avoiding melodrama, for even though she sings with real passion it's thoughtful consideration of situations that comes across, rather than wallowing in puddles of emotion. Laura wins points for often including the neglected verses to these great old songs. ...(she) is someone I'd like to hear more from soon. She sounds invested in the material, projects intelligence, and has a very attractive sound." ~ Rob Lester, Talkin' Broadway

"When I first heard Laura Wolfe's new album, "He Loves Me, He Loves Me Not," I knew that my listeners would love it too. Here is a rare collection of fresh and beautiful love songs that are passionately recorded with fine instrumentation. This album is just what is needed to acquaint all generations with these great tunes from the American Songbook. However, these are just old songs. Even people who have heard them before will think that they are new again, when they hear Laura's unique interpretations of these timeless lyrics. She truly is a song stylist and not just a performer.
Laura successfully places herself in the role of the writers of these classic love songs and then gently communicates their message of adoration or heartbreak to the listener. She really knows how to sell a song. In fact, I was sold just after hearing just a few bars of her pleasing and talented voice. ~ John Russell Ghrist, host of Midwest Ballroom, WDCB 90.9 FM Chicago

"Laura's CD, 'He Loves Me, He Loves Me Not', is a treasure for music lovers who like the great standards. Every phase of Laura's talent shines through each tune. She is imaginative and creative and delivers a distinctive style that is all her own. Listen and enjoy as the excitement builds from the very first cut to the last and I am sure you will agree with me that Laura Wolfe is one of the brightest stars of today." ~ Jim Stone, host of Big Band Swing, WLNZ 89.7FM Lansing

"Laura Wolfe's new CD takes you back to the days when JAZZ was soothing and a part of real life and romance...This is an artist that I truly enjoy, and I am pleased that we'll have more on the way... The best way to describe the effort is, "TRULY DELICIOUS"... Enjoy." ~John Moultrie, WTBQ AM 1110 and 99.1 New York WVOS 95.9 New York .  More.. http://www.cdbaby.com/cd/lwolfemusic

He Loves Me, He Loves Me Not

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Harold Mabern - Mr. Lucky: A Tribute to Sammy Davis Jr.

Styles: Straight-ahead/Mainstream, Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 54:20
Size: 124,8 MB
Art: Front

(5:26)  1. The People Tree
(5:43)  2. As Long As She Needs Me
(5:50)  3. Soft Shoe Trainin' with Sammy
(5:05)  4. Hey There
(7:54)  5. I've Gotta Be Me
(5:21)  6. Mr. Lucky
(4:31)  7. What Kind of Fool Am I?
(7:45)  8. Night Song
(6:42)  9. Something's Gotta Give

Harold Mabern brings his happy, blues-oriented piano to bear on this upbeat homage to the great entertainer Sammy Davis Jr.. Of the nine songs on the album, only two Mabern's buoyant original, "Soft Shoe Trainin' with Sammy," and Henry Mancini's title tune weren't closely associated with Davis. On the other hand, Mr. Lucky seems a rather peculiar name for an album devoted to Davis, as he was undeniably as talented as any entertainer of the past century but, at least in his private life, somewhat far removed from what could be called "lucky." In November 1954, Davis survived a horrendous auto accident but lost his left eye. He spent much of his life battling racism, which wasn't helped by an affair with actress Kim Novak and marriage to the Swedish-born actress May Britt. Surely alcohol, tobacco and drugs contributed heavily to his death from throat cancer at age sixty-four. Davis' body was later exhumed to remove the $70,000 in jewelry buried with him, which was used to help pay off his bankruptcy. Lucky, indeed.

Be that as it may, Mabern and his hard-working colleagues tenor saxophonist Eric Alexander, bassist John Webber and drummer Joe Farnsworth give Davis his due, playing with warmth, vigor and dexterity throughout. Mabern goes it alone on "Hey There," and Alexander sits out on "What Kind of Fool Am I?" Otherwise, it's quartet all the way, and as this is a foursome that has worked and recorded together on a number of occasions, there are no unseemly blips on the radar screen. Alexander, albeit in his early forties and no longer a "young lion," is always a pleasure to hear, lending an aura of perception and integrity to every phrase, while Webber and Farnsworth keep flawless time and give the front-liners all the support they need.

Mabern, far from being overshadowed by his supporting cast, has more than a few melodic and harmonic tricks up his sleeve, showing time and again that, at age seventy- six, he is far from ready to yield any advantage to the younger generation. The fingers are as agile as ever, the musical storehouse apparently unaltered by the passage of time. Even though he entrusts ample solo space to Alexander, Mabern never wavers when it is his turn to shine, swinging freely and happily through every number while endorsing the premise that, perhaps, Sammy Davis Jr. was lucky after all to have admirers like Mabern and crew singing his praises more than two decades after his passing. ~ Jack Bowers  http://www.allaboutjazz.com/mr-lucky-harold-mabern-highnote-records-review-by-jack-bowers.php

Personnel: Harold Mabern: piano; Eric Alexander: tenor saxophone (1-3, 5, 6, 8, 9); John Webber: bass (1-3, 5-9); Joe Farnsworth: drums (1-3, 5-9).

Mr. Lucky: A Tribute to Sammy Davis Jr.

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Thalia - Habítame Siempre

Styles: Latin Pop, Mexican Traditions
Year: 2012
File: MP3@320K/s
Time: 47:22
Size: 108,9 MB
Art: Front

(3:59)  1. Habítame Siempre
(4:55)  2. Con los Años Que Me Quedan
(3:49)  3. Manías
(3:37)  4. Te Perdiste Mi Amor
(4:05)  5. No Soy el Aire
(3:38)  6. Bésame Mucho
(3:11)  7. Regalito de Dios
(3:38)  8. Tómame o Déjame
(3:30)  9. Muñequita Linda (Te Quiero, Dijiste)
(4:35) 10. Bésame
(4:41) 11. Dime Si Ahora
(3:38) 12. Ojalá

Four years after her last studio offering, Mexican pop diva Thalía returns with the ambitious Habítame Siempre. Dedicated to her late mother, the album features a wide array of styles, and more than a few surprises. While the title track single is a ballad in the grand Mexican pop tradition, it is quickly followed by a cover of Gloria Estefan's classic "Con los Años Que Me Quedan," with a similar arrangement but using four different voices to color it differently. The set includes a series of duets as well, including "Te Perdiste Mi Amor" with Prince Royce and "Muñequita Linda" with Robbie Williams, with a musical cabaret style that harks back to the 1940s.

Her reading of the ubiquitous "Bésame Mucho" with Michael Bublé, in both Spanish and English, weds classic pop to tango and nueva canción in a stunning arrangement. [The Mexican and Target versions have three exclusive bonus tracks.] ~ Thom Jurek  http://www.allmusic.com/album/hab%C3%ADtame-siempre-mw0002438392

Personnel: Charlie Bisharat (violin).

Habítame Siempre

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Paul Kuhn & SDR Big Band - Swingtime: The Original Arrangements 2

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 68:58
Size: 162,5 MB
Art: Front

(3:30)  1. South Rampart Street Parade
(3:24)  2. Tuxedo Junction
(3:06)  3. Back Bay Shuffle
(2:52)  4. I've Got My Love To Keep Me Warm
(2:56)  5. 720 In The Book
(4:23)  6. I Can't Get Started (Vocal)
(3:13)  7. Boogie Woogie
(3:50)  8. I'm Getting Sentimental Over You
(3:19)  9. Casa Loma Stomp
(3:21) 10. Concerto For Cootie
(3:27) 11. A String Of Pearls
(3:55) 12. Sing, Sing, Sing
(3:27) 13. And The Angels Sing (Vocal)
(4:44) 14. Moten Swing
(3:12) 15. Jumpin' At The Woodside
(1:39) 16. Ciribiribin
(3:13) 17. Jersey Bounce
(2:59) 18. Harlem Nocturne
(3:27) 19. Yes, Indeed! (Vocal)
(4:54) 20. Air Mail Special

Paul Kuhn (12 March 1928 – 23 September 2013) was a German jazz musician, band leader, singer and pianist. He was the band leader of the SFB Big Band, the orchestra of the Sender Freies Berlin, the TV-Station of West Berlin, part of ARD. He was the conductor of the German entry in the 1972 Eurovision Song Contest. Kuhn was born a the son of a croupier in Wiesbaden. In 1936, at the age of 8, he had a public gig at the 'Funkausstellung' in Berlin, playing the accordion. Some years later, he discovered jazz music (which was frowned upon during the nazi time (1933-1945)). In 1944, he was in Paris and had some gigs to entertain soldiers of the Wehrmacht, who still occupied Paris.After V-Day (8 May 1945), the USA formed an occupation zone in parts of Germany, amongst them the region around Frankfurt. Kuhn was hired by AFN (American Forces Network), he was live on radio almost every day, alone or with his band. 

He adopted the style and sound of Glenn Miller (1904-1944). In the 1950s, he arranged and composed entertainment music. Around 1955, he increasingly launched pop songs, sung and played by himself. During the sixties, more and more west German households bought a TV; music shows, big bands and singers were very successful. In 1968, Kuhn was named head of the entertainment orchestra of Sender Freies Berlin. In 1980, this band was dissolved and Kuhn moved to Cologne and founded his own orchestra. Starting in 2000, he toured with Max Greger, Hugo Strasser and the Big Band of SWR (Südwestdeutscher Rundfunk). At the end of 2011, Kuhn travelled to San Francisco to record a CD (The L.A. Session, with John Clayton and Jeff Hamilton). The album was released in 2013. His most known hits were Der Mann am Klavier (1954), Es gibt kein Bier auf Hawaii (1963) and Die Farbe der Liebe (1958 in the charts). ~ Bio  http://en.wikipedia.org/wiki/Paul_Kuhn_%28band_leader%29

Swingtime: The Original Arrangements 2

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Charles McPherson - What Is Love

Bitrate: MP3@320K/s
Time: 52:05
Size: 119.2 MB
Styles: Bop, Saxophone jazz
Year: 2010
Art: Front

[6:50] 1. I'll Always Be There for You
[6:45] 2. My One and Only Love
[8:42] 3. Easy Living
[7:46] 4. Yesterdays
[9:07] 5. I Loves You Porgy
[7:09] 6. My Romance
[5:43] 7. The Man I Love

Charles McPherson: alto saxophone; Randy Porter: piano; Rufus Reid: bass; Carl Allen: drums; with The Lark Quartet.

A Charlie Parker disciple who brings his own lyricism to the bebop language, Charles McPherson has been a reliable figure in modern mainstream jazz for more than 35 years. He played in the Detroit jazz scene of the mid-'50s, moved to New York in 1959, and within a year was working with Charles Mingus. McPherson and his friend Lonnie Hillyer succeeded Eric Dolphy and Ted Curson as regular members of Mingus' band in 1961 and he worked with the bassist off and on up until 1972. Although he and Hillyer had a short-lived quintet in 1966, McPherson was not a full-time leader until 1972. In 1978, he moved to San Diego, which has been his home ever since and sometimes he uses his son, Chuck McPherson, on drums. Charles McPherson, who helped out on the film Bird by playing some of the parts not taken from Charlie Parker records, has led dates through the years for Prestige (1964-1969), Mainstream, Xanadu, Discovery, and Arabesque.

What Is Love

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Carlos Barbosa-Lima - Alma Y Corazon

Bitrate: MP3@320K/s
Time: 48:02
Size: 110.0 MB
Styles: Latin rhythms
Year: 2007
Art: Front

[4:17] 1. Juego De Niños (Child's Play)
[3:19] 2. Cavatina (From The Deer Hunter )
[3:19] 3. Vou Vivendo
[3:24] 4. Guantanamera
[0:49] 5. Tres Aires Paraguayos Mama Che Mose
[1:00] 6. Tres Aires Paraguayos Any Ke Re Pe
[0:52] 7. Tres Aires Paraguayos Rohayhugui Peicha Aiko
[2:51] 8. Scherzo Sobre La Sonrisa De Un Niño
[3:31] 9. Canto Del Artista
[2:34] 10. Tico-Tico No Fubá
[4:35] 11. Luiza
[2:36] 12. Sons De Carrilhoes
[3:28] 13. Carinhoso
[5:32] 14. Coraçao Que Sente
[2:59] 15. Fascinatin' Rhythm
[2:47] 16. Sueno De Angelita For Harpe Indienne Et Orgue

Carlos Barbosa-Lima: As a twelve-year-old boy, Carlos Barbosa-Lima performed public concerts in his native San Paulo, Brazil. He developed his musical talents with the help of an exceptional teacher, Isaías Savio. Then in 1967, at the age of 22, Barbosa-Lima entered the international concert circuit with a brilliant U.S. debut. Since then, he has enjoyed a remarkable career as a guitarist and arranger. He credits his success to the wisdom of his teacher, Savio, and further guidance from the legendary Andrés Segovia. In his music, Barbosa-Lima mixes old world classical roots with the new world’s vital rhythms. He interprets an exceptional range of repertoire, encompassing Scarlatti, Debussy, Gershwin, Antonio Carlos Jobim, Brubeck and many others. His fanciful arrangements, which integrate different styles, bring him devoted fans and critical accolades. In fact, several noted modern composers have dedicated pieces to Barbosa-Lima, among them Alberto Ginastera, who wrote the Sonata Opus 47, a seminal work of guitar literature. Carlos Barbosa-Lima has matured into an exceptional concert and recording artist. Today, he plays with some of the world’s best orchestras and players, both renowned classical and jazz musicians. He records and tours with new generation of artists, such as Berta Rojas, and he remains a genial central figure at annual music festivals. In this way, he carries on in the lineage his teachers, sharing important musical insights with the next generation,

Berta Rojas: Berta Rojas is a musician who easily moves from classical to other musical genres. Whether working in collaboration, as with the legendary Carlos Barbosa-Lima, or as a soloist, Rojas has captivated music-lovers in the Americas, Europe, and Asia. Most notably, she’s appeared at both the Weill Recital Hall at Carnegie Hall and the Frederick P. Rose Hall, home of Jazz at Lincoln Center in New York. Her performances at Washington D.C.’s John F. Kennedy Center and the South Bank Centre in London sold out in advance. In 2004, she opened the International First Ladies Summit in Paraguay with special guest Senator Hillary Rodham Clinton. Praised by the Washington Post as a "guitarist extraordinaire," her musicianship and cordiality made her a favorite at the renowned John Marlow Guitar Series in Washington DC. The Kennedy Center has recognized Rojas’ artistic excellence and selected her as a Fellow of the Americas for the Performing Arts. This award, as well as a grant by the Organization of American States, allowed her to earn a Masters Degree in Music from Baltimore’s prestigious Peabody Conservatory. While there, she was awarded the Zaidee Thomas Award and a Harold Randolph Prize. Beyond her musical talents, Rojas is committed to supporting South American artists. She has produced a series of concerts in the U.S. that feature folk music played by Latin artists. In addition, she serves as Artistic Director to several South American competitions including the "Agustin Barrios International Festival," the "City of Asuncion Music Competition" and the "Cardozo Ocampo Competition. In October 2004, Paraguay’s Minister of Tourism, Mrs. Evanhy de Gallegos, named Rojas Paraguay’s Ambassador of Tourism.

Alma Y Corazon

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Nat King Cole - Sings For Two In Love

Bitrate: MP3@320K/s
Time: 34:07
Size: 78.1 MB
Styles: Vocal
Year: 1954/1987/1996
Art: Front

[2:47] 1. Love Is Here To Stay
[3:24] 2. A Handful Of Stars
[2:28] 3. This Can't Be Love
[3:17] 4. A Little Street Where Old Friends Meet
[2:38] 5. Autumn Leaves
[2:46] 6. Let's Fall In Love
[2:51] 7. There Goes My Heart
[2:55] 8. Dinner For One, Please, James
[1:51] 9. Almost Like Being In Love
[2:55] 10. Tenderly
[2:33] 11. You Stepped Out Of A Dream
[3:36] 12. There Will Never Be Another You

Like Frank Sinatra, with whom he shared a record company and a conductor, Nat King Cole made a thematic album with Sings for Two in Love, in this case a set of eight romantic ballads. (In fact, here he anticipated Sinatra's much-vaunted "concept" albums for Capitol Records by several months.) But they aren't actually all for "two in love." There are songs for two who think "This Can't Be Love" or that it's "Almost Like Being in Love." And then there are postlove songs -- "Dinner for One Please, James." If Cole really wants to sing for two in love, he's telling them good news and bad. Of course, his plaintive, undisturbed singing makes the happy and sad sentiments seem equally content, and Nelson Riddle's orchestrations consistently support the singer without challenging him or getting in his way. ~William Ruhlmann

Sings For Two In Love

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The Zombies - The EP Collection

Bitrate: MP3@320K/s
Time: 61:55
Size: 141.8 MB
Styles: AM pop, British psychedelia
Year: 1992/2001
Art: Front

[2:22] 1. She's Not There
[2:28] 2. Nothing's Changed
[2:05] 3. Leave Me Be
[2:11] 4. Summertime
[2:02] 5. Sometimes
[2:22] 6. Woman
[1:48] 7. It's Alright With Me
[1:49] 8. I'm Going Home
[2:08] 9. Kind Of Girl
[2:40] 10. Is This The Dream
[1:35] 11. What More Can I Do
[2:05] 12. She's Not There
[2:31] 13. She's Coming Home
[2:05] 14. Just Out Of Reach
[2:41] 15. Whenever You're Ready
[1:54] 16. I Must Move
[1:58] 17. Remember You
[3:10] 18. I Love You
[2:07] 19. I Want You Back Again
[2:35] 20. You Make Me Feel Good
[2:21] 21. It's Alright
[3:30] 22. Time Of The Season
[3:25] 23. Brief Candles
[2:35] 24. I Call You Mine
[2:55] 25. She Loves The Way They Love Her
[2:22] 26. She's Not There

This is the Zombies album that you want. This French label has mined the best album tracks from their early EPs, much the same as they did with The Hollies. The result is an album full of the breathless vocals of Colin Blunstone and the keyboard work of Rod Argent that you expect, and then some. Almost every track here is strong and is so much better a collection than the "Singles A&B." I play 60s music on the radio and of the 26 tracks on this CD, I have marked 23 of them to play. Songs like "I Must Move," "Whenever You're Ready." and "I Love You," shimmer with Zombie magic. Highly recommend. ~Sputnik 57

The EP Collection

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Carl Verheyen - Alone

Bitrate: MP3@320K/s
Time: 52:43
Size: 120.7 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[4:26] 1. Last Train Home
[5:14] 2. Mercy Street
[3:43] 3. Darn That Dream
[3:51] 4. The Gentle Rain
[3:46] 5. Good Morning Judge
[4:11] 6. All You Need Is Love
[3:33] 7. Norwegian Wood
[2:53] 8. In My Life
[4:10] 9. Nordenham
[2:32] 10. Wheels
[2:25] 11. Going Home
[4:15] 12. Last Days Of Autumn
[3:23] 13. Goodbye Yellow Brick Oad
[4:14] 14. Over The Rainbow

"This record is the result of many hours alone with an acoustic guitar, improvising on the harmony and the spirit these songs imply. Some are arrangements I've had for years, others, like "Goodbye Yellow Brick Road" are improvised right in the moment. If you play my last CD "Mustang Run" in the morning to get your day fired up, play this one in the evening when you want to wind it down. I sincerely hope you enjoy it!" ~Carl Verheyen

Alone

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Muddy Waters - Hoochie Coochie Man

Bitrate: MP3@320K/s
Time: 54:46
Size: 125.8 MB
Styles: Chicago blues
Year: 2001
Art: Front

[4:12] 1. Country Boy
[2:38] 2. Baby Please Don't Go
[3:16] 3. (I'm Your) Hoochie Coochie Man
[4:34] 4. Tiger In Your Tank
[4:54] 5. 19 Years Old
[6:06] 6. County Jail
[6:55] 7. Long Distance Call
[4:58] 8. Rock Me Baby
[2:44] 9. Trouble No More
[5:20] 10. Rosalie
[4:19] 11. Rollin' and Tumblin'
[4:44] 12. I Feel Like Goin Home

After years of listening to Muddy's blues classics,countless recordings,with raw blues energy,(which Muddy is the master), I must say this is one "LIVE" cd I keep coming back to for it's pure laid back feeling.

Outstanding recording quality adds to the enjoyment of this "live" small setting. A great,-late night- audio listening experience. A -must have- for Muddy fans and all real blues fans alike! Get this cd! ~Einstein

thank you kempen.
Hoochie Coochie Man

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Terrence Brewer - Mosaic: Setting The Standard Vol 2

Bitrate: MP3@320K/s

Time: 44:33

Size: 102.0 MB

Styles: Post bop, Jazz guitar

Year: 2014

Art: Front

[6:22] 1. I Remember You

[8:24] 2. All The Things You Are

[7:56] 3. Children Of The Night

[4:50] 4. Oleo

[5:19] 5. Our Delight

[5:29] 6. Long Ago And Far Away

[6:10] 7. Bossa Rokka

“Mosaic” follows several critically acclaimed albums for Brewer; Jazz/Funk/Rock fusion project Citizen Rhythm’s “Of, By, For The People” (2012), “Setting The Standard: Vol. 1” (2011), “Groovin’ Wes” a Wes Montgomery Tribute Project (2009), and “QuintEssential” (2008). These four albums garnered several “Top 20” and one “Top 10” ranking on the JazzWeek national jazz radio charts; the albums, combined, spent well over 100 weeks in the “Top 50” on those same charts.

In addition to producing and recording music Brewer also performs full-time. He has lead his groups in performances to sold-out crowds at the 52nd Annual Monterey Jazz Festival, the world famous Yoshi’s at Jack London Square, Yoshi’s San Francisco, SFJAZZ Jazz Festival, and countless other venues. Brewer has shared the stage with vocalist/pianist Diana Krall, Michael McDonald, Gerald Albright, has performed and recorded with Mary Wilson (The Supremes), Darlene Love, Taylor Eigsti, Jay Lane, Dr. Anthony Brown, Pete Escovedo, and has studied with the likes of Charlie Hunter, Duck Baker, Tom Patitucci, and Mark Levine. When not touring regionally and nationally, Brewer instructs master classes, clinics, and lectures for the likes of Stanford Jazz Workshop, SFJAZZ, The Jazz School, Blue Bear School of Music, Lafayette Summer Music Workshop and presenting at colleges, high schools, and middles schools throughout California including Los Medanos College, Chabot College, Santa Rosa Jr College, San Francisco’s University High School, Edna Brewer Middle School, and The Nueva School to name a few.

Setting The Standard Vol 2

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Kitty Margolis - Heart & Soul: Live In San Francisco

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 74:24
Size: 171,2 MB
Art: Front

( 6:32)  1. Love Walked In
( 7:15)  2. A Sleepin' Bee
(10:06)  3. Summertime
( 8:36)  4. Heart and Soul
( 3:29)  5. Your Mind Is on Vacation
( 8:00)  6. Secret Love
( 5:50)  7. Surrey With the Fringe on Top
( 8:38)  8. Spring Will Be a Little Late This Year
( 3:01)  9. I'm Always Drunk in San Francisco
( 9:27) 10. My Favorite Things
( 3:27) 11. While We're Young

Wow, this woman can sing. Recorded live on her home turf, Kitty Margolis’ fifth disc, Heart and Soul: Live in San Francisco , skillfully whips her audience into an appreciative frenzy, and most of the excitement carries over to those listening to the disc. Live recordings tend to be either very good or bad make a mistake on stage, and it’s impossible to patch over it in the recording studio. This disc is good very good. Margolis writes in the liner notes that “songs are never the same twice and the jazz Gods need to be in the house...” The jazz Gods were rocking June 5th & 6th at the Broadway Studios Nightclub in an Francisco last year. What makes this performance so likeable and varied is Margolis’ ability to make a song her own even when the tune is an old and dear standard many of which are closely associated with other singers. 

Margolis interprets each song uniquely by, for example, changing the song’s tempo (she turns “Heart and Soul” into a slow ballad and pushes the pedal to the metal on “Surry with the Fringe on Top”); throws in remarkable scat (“My Favorite Things”); or playfully renders a bluesy, tipsy “I’m Always Drunk in San Francisco.” Adding to the recipe is the excellent chemistry between Margolis and Michael Bluestein on piano, Jon Evans on bass, and Alison Miller on drums. On “A Sleepin’ Bee” Bluestein sets just the right tempo, never over powering Margolis’ energetic swing. Margolis knows an awful lot about jazz but is quick to acknowledge that “all the skill in the world don’t mean a thing if you can’t make people feel something.” Give Heart and Soul: Live in San Francisco a listen, you’ll definitely feel something guaranteed. ~ Rich Friedman  http://www.allaboutjazz.com/heart-and-soul-live-in-san-francisco-kitty-margolis-mad-kat-review-by-rich-friedman.php

Personnel: Kitty Margolis, Vocals; Jon Evans, Bass; Michael Bluestein, Piano; Allison Miller, Drums.

Heart & Soul: Live In San Francisco

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Tete Montoliu - Blues for Myself

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 40:36
Size: 93,1 MB
Art: Front

(5:14)  1. Blues For Corien
(7:35)  2. You've Changed
(6:11)  3. It Could Happen To You
(6:14)  4. Blues For Myself
(5:16)  5. Jimmy's Tempo
(6:01)  6. Blues For Llorach
(4:00)  7. Blues For Coltrane

The blind Catalonian pianist Tete Montoliu is in great form on this 1977 session recorded in Spain, accompanied by bassist Eric Peter and drummer Peer Wyboris. He shows off his tremendous chops in a roller coaster treatment of the bittersweet ballad "You've Changed," then switches to a jaunty mood for a brisk treatment of "It Could Happen to You." Wyboris kicks off the thunderous take of Jimmy Heath's "Jimmy's Tempo," a passionate hard bop vehicle. But the primary focus of this CD consists of four original blues penned by the pianist. 

It seems likely that at least some of them were improvised on the date, though "Blues for Coltrane" seems to draw inspiration from the late tenor saxophonist's rapid-fire live solos that left little open space. "Blues for Myself," the centerpiece of the release, seems closely related to "You've Changed," though the chord progressions do vary. Released by the Spanish label Ensayo, this disc is worth acquiring. ~ Ken Dryden  http://www.allmusic.com/album/blues-for-myself-mw0001887283

Personnel:  Tete Montoliu, piano;  Peer Wyboris, drums;  Eric Peter, bass

Blues for Myself

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Stockholm Classic Jazz Band - Dream House

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 60:08
Size: 138,2 MB
Art: Front

(4:11)  1. My Sweetie Went Away
(5:42)  2. Love Nest
(5:16)  3. I Hope Gabriel Likes My Music
(4:59)  4. Sweet Sue
(4:36)  5. Someone's Rockin' My Dream Boat
(3:05)  6. Dream Kisses
(5:17)  7. Dream A Little Dream Of Me
(4:00)  8. Sweetheart Of All My Dreams
(3:31)  9. Deep In A Dream
(3:30) 10. Dream House
(4:14) 11. Dreaming The Hours Away
(3:35) 12. Dream Of You
(3:49) 13. Beautiful Dreamer
(4:16) 14. Girl Of My Dreams

Classic Jazz Band might look like a standard trad band: six guys old enough to have jumped on the wagon during the brittish trad-boom of the fifties and sixties - banjo and no piano. This is only partly right. We can do that stuff and we still love to do it. Especially in the company of some of its original practitioners like Ken Colyer, Monty Sunshine and Acker Bilk who all have performed with the band. But since all members in the band are men with great integrity and possess a more than average knowledge of the history of jazz, the style and repertoire is today way beyond the short phenomenon of the The Boom. As opposed to many other traditional jazz bands today, we have not limited ourselves to playing New Orleans Style, Chicago Style, Dixieland, Swing, whatever those names stand for. (There is always the same problem when you are asked to explain what kind of music you are playing. We have since long tried to find a good word covering what we try to do. Early Jazz is the best one so far but not very selling.)

We simply play, and what comes out is usually some kind of music that makes people tap their feet, smile, dance or simply feel good and hopefully even buy our records. This we do at jazz-clubs, private parties, jazz festivals and we have done so for over 20 years with this band. No one has been exchanged since the start, wich perhaps meens we have fun together. All the members except Holger Gross is also members of the big band Kustbandet, still swinging after nearly fourty (40) years. Leader Holger Gross has freelanced with most bands in Stockholm after leaving popular Jazz Doctors in the early 1980s.

Pianist Ulf Johansson Werre is a regular feature with the band. Having him with us opens up unlimited possibillities. He is the perfect pianist for us who can do an Earl Hines to match Bent«s Armstrong-like solos, but he can also be absolutely his wild self - thank God! Another friend of the band is Frans Sjöström. He is a phenomenon, a sensation. Good old Frans has concentrated on the majestic bass saxophone and he won the respect of connoisseurs all over the world. Not just for sounding like the great Adrian Rollini when he wants to (no one comes closer) but for his ability to be creative and to move freely within the idiom. The Classic Jazz Band of Sweden has made five CD:s. They are titled Down in Honky Tonk Town, Colyer in Stockholm, Blue Feeling, I´m Glad and Dreamhouse.  http://www.holgergross.se/html/classic_en.html

Dream House

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Harold Mabern - Afro Blue

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 69:42
Size: 160,1 MB
Art: Front

(5:07)  1. The Chief
(5:25)  2. Afro Blue (feat. Gregory Porter)
(5:51)  3. The Man from Hyde Park (feat. Gregory Porter)
(4:35)  4. Fool Rush In (feat. Norah Jones)
(4:23)  5. Don't Misunderstand (feat. Norah Jones)
(3:50)  6. I'll Take Romance (feat. Jane Monheit)
(5:38)  7. My One and Only Love  (feat. Jane Monheit)
(4:24)  8. Billie's Bounce (feat. Kurt Elling)
(5:39)  9. Portrait of Jennie (feat. Kurt Elling)
(4:01) 10. You Needed Me (feat. Kurt Elling)
(5:07) 11. Such Is Life (feat. Alexis Cole)
(5:18) 12. Do It Again (feat. Peter Bernstein)
(5:51) 13. Mozzin'
(4:28) 14. Bobby, Benny, Jymie, Lee, Bu

With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years ever since his early days playing with the unparalleled Betty Carter.

On this album, Mabern has selected five of his favorite vocalists who also just happen to be some of the most popular and respected singers on today's scene and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively. Eminent guitarist Peter Bernstein is featured on one track as well.

"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."

Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals. The album opens and closes with two of the homages - both instrumentals. "The Chief" (for John Coltrane) is for quintet, appropriately modal and fiery; and the trio piece "Bobby, Benny, Jymie, Lee, Bu" closes with a tribute to that edition of Blakey's Jazz Messengers in the funky hard bop flavor those five giants brought to their classic version of Bobby Timmons' "Moanin'". The trio is also featured on a sizzling rendition of John 'Moz' Farnsworth's "Mozzin'" fired up by his brother's drumming. The other instrumental, Steely Dan's biggest hit "Do It Again," is a feature for Bernstein's guitar wizardry. A third Mabern original, "Such Is Life," features Alexis Cole deftly handling Mabern's lyrics and infectious melody, with the three horns providing a backdrop somewhere between calypso and highlife.

Gregory Porter is featured on two pieces, a vividly smoking take on the Mongo Santamaria/Oscar Brown Jr. title cut, with Mabern stoking in classic Afro-Cuban piano mode; and in a delightful easy groove on the fourth Mabern original "The Man from Hyde Park" - a dedication to Herbie Hancock. Norah Jones brings her highly personal style to Bloom & Mercer's "Fools Rush In," smoothly swinging over Blakey-ish horns; and in an enchanting, intimate duet with Mabern on Gordon Parks' lovely "Don't Misunderstand." Jane Monheit is buoyantly spirited on Oakland & Hammerstein's "I'll Take Romance," and mesmerizing on Wood & Mellin's gorgeous "My One and Only Love." Bird's bop icon "Billie's Bounce" is a rip-roaring sojourn in scat by the remarkable Kurt Elling, while the acclaimed vocalist aptly demonstrates his ballad mastery with a most poignant take on Robinson & Burdge's exquisite "Portrait of Jennie." A fortunate serendipity on the Anne Murray mega-hit, Randy Goodrum's "You Needed Me" which was slated to be an instrumental feature for Alexander's robust tenor - caused Mabern to call an audible when he heard Elling sing the first few words as he was about to depart the studio. The deeply moving results show how magic can be born by chance.

Mabern is unequivocally enthusiastic about this new album: "Wow! I can't believe we pulled all of it off. Everybody involved did a ten-star job. Simply beautiful!" Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend. http://www.criticaljazz.com/2015/01/mark-your-calendar-for-new-harold-mabern.html

Afro Blue

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