Joya Sherrill - Joya Sherrill Sings Duke

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 33:34
Size: 77,4 MB
Art: Front

(2:15)  1. Mood Indigo
(3:48)  2. Prelude To a Kiss
(1:55)  3. I'm Beginning to See the Light
(2:49)  4. Sophisticated Lady
(1:48)  5. Kissing Bug
(2:22)  6. In A Sentimental Mood
(2:35)  7. Duke's Place
(2:50)  8. I'm Just a Lucky So and So
(3:53)  9. Day Dream
(3:32) 10. Things Ain'T What They Used To Be
(2:48) 11. Just Squeeze Me (But Don't Tease Me)
(2:52) 12. A Flower Is a Lovesome Thing

One of the best singers who toured with Duke Ellington, she seemed to be a natural choice for a feature album, only this release was produced by Mercer Ellington with a number of Ellington veterans in the supporting cast and Billy Strayhorn at the piano. Sherrill's confidence singing the twelve gems from the band repertoire allows her to let the timelessness of the music and lyrics speak for itself rather than overembelish the songs. 

Her superb diction and warm sound are complemented by brief accents by alto saxophonist Johnny Hodges on "Prelude To A Kiss," the muted cornet of Ray Nance on a sassy "I'm Beginning To See The Night," and Nance's violin on her moving take of "Day Dream." This rare outing away from the full band, now available on CD, is worth acquiring. ~ Ken Dryden  

http://www.allmusic.com/album/joya-sherrill-sings-duke-mw0000239630

Personnel: Joya Sherrill (vocals); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Cootie Williams (trumpet); Ray Nance (violin, cornet); Ernie Harper, Billy Strayhorn (piano); Joe Benjamin, John Lamb (bass); Shep Shepard, Sam Woodyard (drums).

Joya Sherrill Sings Duke

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Jessy J - Hot Sauce

Styles: Vocal And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 43:12
Size: 99,1 MB
Art: Front

(4:08)  1. Remember The Night (Feat. Paul Brown)
(4:00)  2. Rio Grande
(3:17)  3. Hot Sauce
(4:27)  4. Rainbow Gold (Feat. Joe Sample & Harvey Mason)
(3:53)  5. 'Til You Make Up Your Mind
(4:06)  6. Meant To Be
(2:50)  7. We Kissed
(3:33)  8. Leave Right Now
(4:47)  9. In A September Mood (Feat. Saunders Sermons)
(8:07) 10. Last Night (Feat. Joe Sample & Ray Parker Jr.)

The third major album by saxophonist Jessica Spinella (a.k.a. Jessy J) reflects both a reliance on a proven formula and the stirrings of venturing into unexplored territory. Jessy's got a problem. She can attribute much of her success to veteran producer Paul Brown, whose other clients include Euge Groove, Rick Braun and Boney James. Brown is a master of the catchy hook, which makes him more commercial than cutting edge. That's not a bad thing, but it doesn't always make for boldly inventive music. Brown's production always sounds good, even if it's often a slightly different twist of the same old song.Of Hot Sauce's ten songs, six are produced by Brown, but it's the other four which are the most interesting. There's nothing terribly wrong with "Remember the Night" and "Rio Grande," other than the odd sequencing of two tracks which sound remarkably similar except one is more up-tempo than the other, but there's just nothing original about them, either. Brown's skills are in revisiting what he's done on previous Jessy J albums like Tequila Moon (Peacon, 2008) and True Love (Peak, 2009).

Here, however, Brown holds the reins on the young saxophonist a bit too tightly. Any song entitled "Hot Sauce" ought to flat-out groove, not just bubble away for 3:17; "Mild sauce" would be a better descriptor for the underwhelming, paint-by-numbers title tune. There are faint traces of Jessy J's Latin heart beating faintly in the background, but it's overwhelmed by the slickness and sheen of Brown's production. A little less control and little more risk-taking were needed here. More successful and much more fun are "Rainbow Gold" and 'Last Night," two funky workouts, with "Last Night" offering a rare performance by Joe Sample, workin' it out on the Hammond B3 organ with studio pros Harvey Mason (drums), Ray (Ghostbuster) Parker Jr. (guitar) and Nick Sample son of the former Crusaders keyboardist joining in on bass. Both feature Jessy J's vocalizations, so if you enjoy them, you're in luck.

The moment of revelation comes with Saunders Sermons and his vocal turn on "In A Sentimental Mood," with Jessy J playing a supporting role. Sermons simmers and sways, playing it straight, with Jessy J's tenor sax warmly warbling in the background. Sermons co-produced and arranged the Duke Ellington classic with pianist Jon Notar, and it's a winner, with some nice stick work from drummer Josh Guinta. Nothing else on Hot Sauce sounds remotely like this and it's a style for which Jessy J is well-suited. There is a balance a musician must strike between art and commerce, and not every soloist thrives in the spotlight. The finest moments of Hot Sauce come when Jessy J is part of the band instead of the center of attraction. Going forward she will likely thrive in either role, but for now she seems most comfortable in the former than the latter. ~ Jeff Winbush  http://www.allaboutjazz.com/hot-sauce-jessy-j-heads-up-international-review-by-jeff-winbush.php
 

Personnel: Jessy J: tenor sax, soprano sax, flute, vocals; Paul Brown: guitar, drums, percussion, nylon string guitar, programmed drums (1-3, 5-7); Marco Basci: keyboards, strings, bass, drum programming (2, 5); Roberto Vally: bass (2, 5-7), Lawrence Young: keyboards (3); Michel Ripoli: guitars, bass (3); Deyon Dobson: keyboards, drum programming (3); Joe Sample: piano, Rhodes, Triton keyboard and Hammond B3 organ (4, 10); Ray Parker Jr.: guitars and background vocals (4, 10); Nick Sample: bass (4, 10); Harvey Mason: drums (4, 10); Gregg Karukas: keyboards, strings (6, 7); Jeff Caruthers: keyboards, guitar, bass and drum programming (8); Saunders Sermons: vocals (9); Jon Notar: piano (9); Jordan Scannella: electric bass (9); Josh Guinta: drums (9); Janis Liebhart: background vocals (10); Toni Scruggs: background vocals (10).

Hot Sauce

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Bill Charlap Trio - All Through The Night

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 47:36
Size: 109,0 MB
Art: Front

(8:55)  1. All Through The Night
(5:23)  2. Roundabout
(4:31)  3. Put On A Happy Face
(5:18)  4. It's So Peaceful In The Country
(4:16)  5. The Best Thing For You Would Be Me
(3:19)  6. Pure Imagination
(3:54)  7. Nobody's Heart
(6:25)  8. Dance Only With Me-Dream Dancing
(5:31)  9. I've Just Seen Her

This trio outing by pianist Bill Charlap (with bassist Peter Washington and drummer Kenny Washington) is a superior modern mainstream set. Charlap's boppish yet melodic style (which is championed by George Shearing in the liner notes) is pleasing, swinging and just unpredictable enough to hold one's interest. He mostly performs lesser-known standards such as Vernon Duke's "Roundabout," Irving Berlin's "The Best Thing For You Would Be Me" and the Rodgers and Hart classic "Nobody's Heart." An enjoyable outing. ~ Scott Yanow  http://www.allmusic.com/album/all-through-the-night-mw0000042887

Personnel: Bill Charlap (piano); Peter Washington (bass); Kenny Washington (drums).

All Through The Night

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Clark Terry & Red Mitchell - To Duke And Basie

Styles: Trumpet and Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 39:57
Size: 91,9 MB
Art: Front

(3:21)  1. It Don't Mean a Thing (If It Ain't Got That Swing)
(2:51)  2. Swingin' the Blues
(5:46)  3. I Got It Bad (And That Ain't Good)
(4:39)  4. Moten Swing
(4:19)  5. Hey Mr. Mumbles, What Did You Say
(2:07)  6. Big 'N' the Bear
(4:47)  7. Shiny Stockings
(4:09)  8. C Jam Blues
(5:25)  9. Thank You for Everything
(2:29) 10. It Don't Mean a Thing (If It Ain't Got That Swing)

Flügelhornist Clark Terry and bassist Red Mitchell play a full program of duets, with most of the music being associated with either Count Basie or Duke Ellington. Actually, the best-remembered selection of the date is Terry's humorous "Hey Mr. Mumbles, What Did You Say?," which has a call-and-response vocal by the two masterful musicians. 

Overall, this is a particularly delightful set, with plenty of wit displayed along with the hard swinging. ~ Scott Yanow  

http://www.allmusic.com/album/to-duke-basie-mw0000317763

Personnel: Clark Terry (vocals, trumpet, flugelhorn); Red Mitchell (vocals, piano).

To Duke And Basie

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Chester E. Smith - Blues For C

Bitrate: MP3@320K/s
Time: 53:34
Size: 122.6 MB
Styles: Organ jazz
Year: 2013
Art: Front

[ 6:13] 1. Blues For C
[ 4:29] 2. Lush Life
[ 5:23] 3. Cookin'
[ 5:45] 4. It Don't Mean A Thing
[ 5:57] 5. Hippidelphia
[ 4:57] 6. Blues On The Corner
[10:16] 7. Nica's Dream
[ 5:14] 8. The Breakdown
[ 5:15] 9. Blues In The Twilight Zone

Chester E. Smith: organ; Red Holloway, David Halliday, Dawan Muhammad: saxophone; Mike Olmos: trumpet; Calvin Keys: guitar; Charles Smith, Donald Bailey: drums; Tacuma King: percussion.

Chester E. Smith is no relation to James Oscar but this is definitely Jimmy's world. Chester E. uses some electronics that Jimmy might not have cared for, but here it's all about expressive capability. Chester shares a Philadelphia area background that comes with a deep sense of soul and the blues. This session was produced in San Jose, Calif. by saxophonist Dawan Muhammad (he also wrote the closer "Blues in the Twilight Zone ) and from start to finish it works on the kinds of grooves of the best organ albums. The tune selections highlight the writing of keyboard players - Billy Strayhorn, Ellington, McCoy Tyner, Horace Silver, Joe Zawinul and Thelonious (egregiously misspelled "Thelonius here) Monk and each of the piano compositions is given a treatment that's colored by expressive use of electronic effects and fine horn work by Red Holloway (tenor), David Halliday (tenor and alto), Mike Olmos (trumpet) and Muhammad. Smith has listened to and absorbed classic sounds from the '60s thru the '80s but he sends them back out with both the essence of the tradition and some new colors. For example, on "Nica's Dream the bebop rhythms and melody are deeply felt, but the organ gives it a new, darker sensibility. ~Donald Elfman

Blues For C

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Dave Edmunds - ...Again

Bitrate: MP3@320K/s
Time: 49:37
Size: 113.6 MB
Styles: Roots rock, Pub rock
Year: 2013
Art: Front

[3:33] 1. Again
[3:26] 2. Chutes & Ladders
[3:25] 3. Halfway Down
[4:14] 4. I Got The Will
[5:09] 5. I Love Music
[3:23] 6. Standing At The Crossroads
[2:15] 7. Return To Sender
[3:15] 8. Georgia On My Mind
[3:01] 9. It Doesn't Really Matter
[3:38] 10. People Wanna Get High
[2:48] 11. I Still Love You
[2:05] 12. Baby Face
[2:35] 13. The Claw
[3:33] 14. Your Song
[3:09] 15. A Better Word For Love

Not long after the 1994 release of Plugged In, Dave Edmunds chose to tune out, slowly winding his way back to his native Wales, where he essentially acted as a hermit. Occasionally, he'd show up on-stage -- or on Jools Holland's Later -- but his active career essentially ceased, punctuated by the live album A Pile of Rock (a title often recycled in his career) documenting a one-off European show from 1997, plus a 2000-era largely instrumental album called Musical Fantasies. With this in mind, the release of ...Again in 2013 is big news: it appears to be his first new album in nearly two decades. This isn't the case. ...Again is a curious thing, a 15-track collection that contains no less than nine of the 11 songs on 1994's Plugged In, along with "Return to Sender," his contribution to the Otis Blackwell tribute Brace Yourself (released in 1994, but recorded in 1991), plus five new songs. It's not quite enough to be considered a full-fledged comeback but it's slightly more than tossed-off bonus tracks, too, as these new contributions spin the Plugged In material in a slightly different direction. Of course, it helps that the weakest moments of that 1994 album are left behind -- "Sabre Dance 94" is not revived -- and the new cuts are often quite strong. An instrumental version of Elton John's "Your Song" may veer a little too close to the middle of the road but the title track "Again" easily slips into the sound and spirit of the rest of the material, as does the slightly melancholy Beach Boys boogie of "People Wanna Get High" -- both are distinguished by being two rare original compositions by this retro-rocker -- while "Baby Face" is a nicely riotous Little Richard salute and "Georgia on My Mind" pays a fair tribute to Ray Charles. All five songs are easily enjoyable and their inclusion turns this record, which is essentially Plugged In, into a better album. Plugged In holds up well -- 20 years later, its isolationist roots rock doesn't feel dated as much as it feels out of time -- and having a five or six strong cuts added to it does enhance its value, yet it's hard not to wish that ...Again was a full-on new album instead of this half-measure. ~Stephen Thomas Erlewine

...Again

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Nancy Harrow - An Intimate Evening With Nancy Harrow

Bitrate: MP3@320K/s
Time: 56:10
Size: 128.6 MB
Styles: Vocal jazz, Cabaret
Year: 2010
Art: Front

[3:19] 1. Guess Who's In Town
[4:28] 2. Maybe It's Because I Love You Too Much
[3:01] 3. So Why Am I Surprised
[0:18] 4. Musician Credits
[2:44] 5. Why Was I Born
[3:57] 6. If I Could Be With You
[3:51] 7. You Go To My Head
[3:28] 8. You're Not The Only Oyster In The Stew
[4:29] 9. Don't Go To Strangers
[4:26] 10. I Don't Know You Any More
[4:35] 11. Fixing A Hole
[3:47] 12. Pretty Prey
[0:39] 13. Spoken Introduction
[4:14] 14. You're Not What You Said You Are/Effie
[3:36] 15. He's Gone
[5:11] 16. Life Is Short/Havin' Myself A Time

Nancy Harrow - Voice; Roland Hanna - Piano; Paul West - Bass.

This album is especially personal for Nancy because, for the first time, listeners get to hear her performance in front of an audience. She is a jazz singer within each song she sings, but she also comes from the generation when jazz artists were supposed to be entertainers. She understands that she has to have "an act." In her cabaret act, she shows her honest self. Nothing is put-on. Her personal warmth and sense of humor are more evident in these spontaneous moments.

Technically speaking, certain things Nancy does are unorthodox, just as Ruth Olay, Morgana King, Sheila Jordan, and Betty Carter (to pick notable jazz voices of her generation) were each unique and idiosyncratic. Unlike many jazz singers, Nancy never improvises in an "in your face" manner. Nancy is not a show-off. Everything she does is subtle and tasteful. Like her accompanist Roland Hanna, she is always in the moment. Take If I Could Be With You, which I consider one of the highlights of this CD; Nancy hardly sings the original melody but she does it in such an easy manner that she makes it sound as though she is singing the melody. In some songs, especially her own compositions, she hardly departs from the original melodies. Nonetheless, she always manages to retain her jazz identity. ~Ted Takashi Ono

An Intimate Evening With Nancy Harrow

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Saul Rubin - The Zebtet

Size: 139,5 MB
Time: 60:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. Lotus Blossom (5:56)
02. Bluetooth (6:24)
03. Make Someone Happy (5:47)
04. The Android (6:41)
05. Aisha (7:38)
06. Cobi Narita (7:07)
07. Song For Diane (6:09)
08. Milestones (4:13)
09. Sasquatch Shuffle (8:11)
10. Once Upon A Time (2:08)

Accomplished guitarist/composer/producer has worked in the New York area since 1981. His diverse career has taken him to clubs, concert halls, studios, multimedia and post production facilities around the world. In 1997 Saul started his own production company Zebulon Sound and Light, specializing in recording, audio/video production, multimedia, and animation.
Saul plays from the heart. His mature, driving virtuosity playing solo, trio or full big band uniquely engages the listener whether it is up tempo or a slow alluring ballad.

Saul has worked and recorded with many great musicians including - Sonny Rollins, Roy Hargrove, John Hicks, Victor Lewis, Bob Cranshaw, Sammy Figueroa, Johnny ONeal, Hank Jones, Frank Wess, Cameron Brown, Eric Lewis, Essiet Essiet, Dave Schnitter, Larry Willis, Jonathon Batiste, Steven Scott, Clifford Barbaro, Wynard Harper, Candido, Bruce Cox, Sue Terry, Badal Roy, Jerry Gonzalez, Victor Jones, Gerald Cannon, Paul Jeffrey, Jerry Weldon, Bobby Forrester, Craig Handy, Groove Collective, Sherman Irby, Thomas Chapin, Tessa Souter, Avishai Cohen, Joe Magnarelli, Ned Goold, Fabio Morgera, James Hurt, Eric Revis, Willi Jones III, Eddie Jones, Paul Brown, Dave Samuels, and many more.

The Zebtet

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Barbara Russell - Swing With Me/Golden Blues

Size: 179,5 MB
Time: 76:48
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Pop Vocals
Art: Front

01. The Destroyer (2:00)
02. Once Upon A Time (3:56)
03. Getting To Know You (1:55)
04. Sunday In New York (2:39)
05. Who's Sorry Now (2:28)
06. Mean To Me (2:24)
07. You Don't Know What Love Is (2:32)
08. Love Me Or Leave Me (2:25)
09. I Cried For You (2:09)
10. Georgia (3:05)
11. Never On Sunday (2:43)
12. Cry Me A River (2:12)
13. Am I Blue (2:28)
14. Learnin' The Blues (2:51)
15. Love Me Tender (2:37)
16. Bye Bye Blues (2:40)
17. The Last Dance (2:37)
18. Misty (3:41)
19. Why Don't You Do Right (2:11)
20. 'Round Midnight (3:41)
21. Something Happens To Me (2:45)
22. He's My Guy (3:16)
23. This Could Be The Start Of Something (3:03)
24. The End Of A Love Affair (3:02)
25. Oh, You Crazy Moon (3:10)
26. I Remember You (2:53)
27. Too Late Now (3:20)
28. By Myself (1:54)

Featuring: Barbara Russell (vcl), with orchestras arranged and conducted by Don Costa, Nick Perito & Bucky Pizzarelli

Barbara Russell was a singer with a vibrant, arresting vocal quality, a fine sense of phrasing and feel for a lyric, and an utterly captivating style. She was also a tall, willowy blonde, a commanding presence and a “star” in every respect. It made for a performer capable of holding an audience from the first note and maintaining the interest and excitement throughout the entire performance.

Her jazz-influenced style runs the gamut from warm, intimate ballads to the swinging up tempo tunes, as she demonstrated in these two albums recorded for United Artists between 1960 and 1962. She treated each song with respect, and the Don Costa arrangements on “Swing with Me,” and those of Nick Peritofor “Golden Blues” became the velvet cushion for the jeweled tones of Barbara Russell.

As a bonus, the last four tracks included here were recorded live at Jazzland, a theater-restaurant, opened in May 1964 in the Louisiana Pavilion at the World's Fair. Jazzland was open daily from noon to 2 A.M., with Barbara Russell among the attractions, as well as the Al Beldini trio, who accompanied her.

Swing With Me/Golden Blues

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Kermit Ruffins & The Barbecue Swingers - #imsoneworleans

Size: 111,6 MB
Time: 48:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. I'm So New Orleans (5:27)
02. Tipitina (6:23)
03. Mexican Special (4:03)
04. At Last (6:10)
05. I Can't Give You Anything But Love (5:17)
06. Put Your Right Foot Forward (4:29)
07. Jock-A-Mo (Iko Iko) (5:10)
08. Somewhere Over The Rainbow (5:11)
09. I'm So New Orleans Part 2 (5:50)

Kermit Ruffins (born December 19, 1964) is an American jazz trumpeter, singer, and composer from New Orleans, Louisiana, United States. He has been influenced by Louis Armstrong and Louis Jordan and says that the highest note he can hit on trumpet is a high C. He often accompanies his songs with his own vocals. Most of his bands perform New Orleans jazz standards, though he also composes many of his own pieces. Jon Pareles of The New York Times wrote, "Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone, sings with off-the-cuff charm and never gets too abstruse in his material."

#imsoneworleans

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The Sax Pack - Pack Of 3

Size: 105,7 MB
Time: 41:30
File: MP3 @ 320K/s
Released: 2015
Styles: Smooth Jazz
Art: Front

01. Sooner Or Later (3:46)
02. Back In Style (4:03)
03. Disco Here (4:00)
04. Shine On (4:17)
05. Like Old Times (4:32)
06. Into You (3:44)
07. Power Of 3 (4:32)
08. When Morning Comes (4:17)
09. What's The Time (4:07)
10. Never Gonna Give You Up (4:08)

Smooth Jazz supergroup, The Sax Pack, has been playing to packed houses from coast to coast. Lead by 3 of the hottest saxophonists on the planet Kim Waters, Jeff Kashiwa and Steve Cole who have individually sold over 1 million CDs and had over 20 Top 10 Smooth Jazz singles!

Inspired by the infamous Rat Pack, The Sax Pack creates an atmosphere that is high energy and highly entertaining, packing powerful grooves that thrill their growing fan base!

Their smash single, Fallin For You, was #1 at Smooth Jazz radio for an unprecedented 16 weeks in a row, and their debut CD was perched high on the Billboard Contemporary Jazz Chart for almost a full year!

Highlights include the first single, Back in Style, which is already climbing up the charts, the sensual ballad Shine On, the joyous and funky Power of 3 plus more brilliant Sax Pack originals!

Pack Of 3

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Theo Jackson - Shoeless And The Girl

Size: 110,6 MB
Time: 47:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Little Do You Know (5:06)
02. Moonchild (5:13)
03. Lonesome George (4:18)
04. Shoeless And The Girl (5:37)
05. Footprints (4:35)
06. Bella's Coming Home (5:16)
07. Wild Flower (3:45)
08. Peu M'importe (5:32)
09. Love And A Shoestring (4:27)
10. Camberwell Butterfly (3:14)

Already attracting 4 and 5 star rave reviews from critics, 'Shoeless and the Girl' is the much anticipated debut album from Theo Jackson. Whilst the foundations for this highly original release lie squarely in jazz, Theo's songs have a distinctive voice and incorporate a multitude of ideas and genres. Theo is an original artist, a creative mind, a modern-day troubadour. His songs have an ethereal, other-worldly quality and yet they are grounded in reality.

The 10 tracks on the album are drawn from the imagination of this natural storyteller whose lyrics are often quirky, yet they are always sincere. Standout tracks on the album include the up-beat opener 'Little Do You Know', featuring long-time collaborator alto saxophonist Nathaniel Facey from the MOBO award-winning band Empirical, a vocal adaptation of Wayne Shorter's 'Footprints' and the title track 'Shoeless and the Girl'.

With a stellar support ensemble featuring Huntly Gordon, double bass; Marco Quarantotto, drums and special guests Leo Richardson, tenor saxophone and Quentin Collins, Flugelhorn, one critic has already stated that this album "is as close to perfection as a debut will ever be."

Shoeless And The Girl

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Laila Biali & The Radiance Project - House Of Many Rooms

Size: 112,8 MB
Time: 48:26
File: MP3 @ 320K/s
Released: 2015
Styles: Pop/Rock/Jazz Vocals
Art: Front

01. Shadowlands (4:11)
02. Love (4:04)
03. Come Anything (3:39)
04. Little Bird (4:15)
05. Sparrow (5:08)
06. Shine (3:11)
07. You (4:00)
08. Upside Down (4:26)
09. Wait For Me (3:52)
10. Home (6:01)
11. Plainclothes Hero (5:33)

Critically acclaimed as one of Canada’s finest jazz-pop musicians, Laila Biali is a gifted singer, pianist, and songwriter. She takes the best of pop, rock, classical, world, and soul music and weaves them into her jazz arrangements and original songs.

Now based in Brooklyn, Laila performs around the world, from Peru to Tokyo’s Cotton Club. Her appearance at last year’s TD Victoria International JazzFest was a smash hit! When not creating and performing her own music, Laila has been a backup vocalist for Sting and toured with Suzanne Vega, Chris Botti, and Paula Cole.

Laila started playing jazz professionally at age 19 and has been winning awards and accolades ever since. She has won “Keyboardist of the Year” and “Composer of the Year” at the National Jazz Awards. Her 2011 album Tracing Light was a “Best Vocal Jazz Album of the Year” Juno award nominee. Downbeat named her album Live In Concert one of the “Best Albums of 2013” and gave it a glowing four star review.

This performance will celebrate the release of Laila’s latest album, House of Many Rooms, which was co-produced by her husband Ben Wittman. On this CD, Laila ventures into a more pop-oriented sound while honouring her jazz roots. It is full of catchy hooks, sweet melodies, and anthemic musical arrangements. For this performance, Laila’s band features Anna Atkinson violin/vocals/musical saw, Graham Campbell guitar/ukulele/vocals, Chris Tarry electric bass, and Ben Wittman drums.

House Of Many Rooms

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Cy Coleman - Playboy's Penthouse

Bitrate: MP3@320K/s
Time: 38:12
Size: 87.4 MB
Styles: Piano jazz
Year: 1960/2012
Art: Front

[3:24] 1. Playboy's Theme
[2:33] 2. Kiss And Run
[3:40] 3. Lulu's Back In Town
[5:34] 4. Round Around Midnight
[3:26] 5. Top Hat, White Tie And Tails
[4:09] 6. Steppin' Out With My Baby
[3:01] 7. Something I Dreamed Last Night
[3:37] 8. Dorothy's Dilemna
[4:56] 9. Just In Time
[3:48] 10. Tennis Bums Blues

Cy Coleman wore many hats in his long, illustrious music career. Jazz pianist, songwriter, arranger, producer, music director, Broadway composer were among the many titles bestowed upon him. As a jazz pianist he led the Cy Coleman Trio, which made many recordings and was a much-in-demand club attraction. As a songwriter, Coleman composed many hit standards including "Witchcraft" and "The Best Is Yet To Come". One of his popular instrumentals, "Playboy's Theme," became the theme music of Playboy magnate Hugh Hefner's 1960's TV show, Playboy After Dark. This classic album recorded in 1960, includes that well known theme along with several jazz standards and features Cy Coleman (piano), with Bill Takas (bass), Dave Bailey (drums), Ernie Royal (trumpet) and Wayne Andre (trombone). All selections newly remastered.

Playboy's Penthouse

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The Four Freshmen - In Session

Bitrate: MP3@320K/s
Time: 41:34
Size: 95.2 MB
Styles: Vocal harmony group
Year: 2005
Art: Front

[3:21] 1. It's All Right With Me
[4:50] 2. My One And Only Love
[3:11] 3. Skylark
[3:33] 4. If I Only Had A Brain
[4:34] 5. Early Autumn
[2:40] 6. Something's Gotta Give
[5:01] 7. How Do You Keep The Music Playing
[2:29] 8. That Old Feeling
[4:33] 9. September Song
[3:15] 10. If I Had You
[4:03] 11. You've Changed

Vocals – Bob Ferreira, Brian Eichenberger, Curtis Calderon, Vince Johnson

The Four Freshmen were one of the top vocal groups of the 1950s, and formed the bridge between '40s ensembles like the Mel-Tones and harmony-based rock & roll bands such as the Beach Boys as well as groups like Spanky & Our Gang and the Manhattan Transfer. The group's roots go back to the end of the 1940s and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by two brothers, Ross and Don Barbour. Their repertoire centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an unusually free, improvisational approach to their harmony singing. A couple of membership changes brought Bob Flanigan, a cousin, into the fold alongside Hal Kratzsch, and suddenly the Four Freshmen were assembled in all but name, and that fell into place a little later.

There were membership changes along the way -- Kratzsch left in the spring of 1953, to be replaced by Ken Errair who, in turn, was succeeded by Ken Albers in April of 1956, while Don Barbour left in 1960, replaced by Bill Comstock. That lineup lasted intact for nearly 13 years, into the 1970s, but by that time the group's influence had faded to almost nothing. The Four Freshmen had managed to stay competitive with other pop acts through the mid-'60s, and even got a very visible boost from the Beach Boys, in the form of Brian Wilson's frequent expressions of admiration for the quartet as part of his inspiration behind putting together the rock & roll group's sound, but following the arrival of the British Invasion, they were no longer anywhere near the cutting edge of pop music. They continued to record and perform, even assimilating such contemporary songs as Jimmy Webb's "By the Time I Get to Phoenix," but they were effectively relegated to the "easy listening" stations. Their contract with Capitol ended in 1964, and the group's last affiliation with a major label was in the second half of the decade with Liberty Records, which yielded four LPs but no hits. By 1977, Bob Flanigan was the last original member, and he retired in 1992.

New lineups of the group have continued to perform into the 21st century, however, and are considered an artistically valid ensemble -- in 2000 the Four Freshmen were voted Vocal Group of the Year by Down Beat magazine's readers. And in 2001, no less a label than Mosaic Records -- the company that issues complete catalogs of jazz legends going back to the 1930s, in deluxe packaging -- released a multi-CD box of the Four Freshmen's complete 1950s recordings, proudly (and even defiantly, given the label's catalog) proclaiming the quartet's validity as a jazz outfit. ~ Bruce Eder

In Session  

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Jutta Hipp - The Lost Tapes (The German Recordings 1952-1955) [Extended Version]

Bitrate: MP3@320K/s
Time: 72:30
Size: 166.0 MB
Styles: Piano jazz
Year: 2013
Art: Front

[4:33] 1. Blues After Hours
[3:26] 2. Erroll's Bounce
[2:34] 3. Gone With The Wind
[4:48] 4. Out Of Nowhere
[5:02] 5. You Go To My Head
[3:47] 6. Stompin' At The Savoy
[6:32] 7. What Is This Thing Called Love
[2:10] 8. Fool That I Am
[2:57] 9. The Lonesome Road
[2:29] 10. Fine And Dandy
[1:57] 11. What's New
[2:10] 12. These Foolish Things
[4:34] 13. Stompin' At The Savoy (Alt)
[2:29] 14. Sound Koller
[3:06] 15. Come Back To Sorrento
[3:36] 16. Moonlight In Vermont
[4:34] 17. Daily Double
[3:58] 18. Indian Summer
[3:36] 19. Everything Happens To Me
[4:01] 20. Serpentinen

German-born pianist Jutta Hipp (1925-2003) was enticed to travel to New York in 1955 by jazz writer/historian Leonard Feather. She was signed by Alfred Lion to Blue Note Records where she very quickly—within an eight month period—recorded three albums for the label: At the Hickory House, Vol. 1 (1955); At the Hickory House, Vol. 2, and Jutta Hipp with Zoot Sims, a teaming with the tenor saxophonist which was her most successful album. Then it was over. Hipp left the music world in 1958 and supported herself in New York City as a seamstress and painter. She never returned to Germany, never again performed or recorded. The "why" of her retreat has never been fully explained, and she remains a "What If? artist. What if she had been able to achieve her considerable potential? The potential is revealed in Lost Tapes: The German Recordings 1952-1955. This is the sound that enchanted Leonard Feather, and convinced Alfred Lion that Blue Note Records had a spot on its roster for Jutta Hipp.

The set opens with Hipp working the piano trio format with a deeply blue "Blues After Hours," followed by Erroll Garner's "Erroll's Bounce." The pianist is in a very percussive frame of mind on the first of these, before gliding into a mesmerizing glissando that introduces a brief but sweet bit of improvisation. The second of these trio efforts sparkles—the way its author, pianist Garner, would have it.Tenor saxophonist Hans Koller joins the trio for the next eleven tunes. "Gone With the Wind" is a lilting effort, and Hipp proves herself a very capable and straight-forward accompanist—this is before pianist Bill Evans and his trios democratized the piano trio format. She shines as inspired soloist, though one who certainly could have stretched out more. Then this was in the end of the days of the 78 rpm records (1952), when the three minute limit was still in effect. "What Is This thing Called Love" is laid down in a haunting fashion, with Koller's sax sounding especially resonant. Again, Hipp is restrained and tasteful in the accompaniment mode, and beautifully inspired when she gets her solo spot, with some long, serpentine lines that bring fellow pianist Lennie Tristano to mind. The familiar "What's New" has a fetching, cool jazz lightness, with trombonist Albert Mangelsdorff joining the front line, and features Hipp swaying into a lovely sing-song solo.

This is a generous very welcome helping of early Jutta Hipp, an artist, sadly, without a big discography. And it's another of Jazzhuas' Records first-rate offerings of previously unreleased gems from some of the early jazz artists—American and European—performing in Germany. ~Dan McClenaghan

Jutta Hipp: piano; Franz "Shorty" Roeder: bass (1-13); Karl Sanner: drums (1-10, 14-17); Albert Manglesdorff: trombone (8-13); Hans Koller: tenor saxophone (3-13); Rudi Sehring: drums (11-13); Joki Freund: tenor saxophone (14, 17); Atilla Zoller: guitar (14, 17); Harry Schell: bass (14, 17).

The Lost Tapes (The German Recordings 1952-1955) [Extended Version]

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Herb Ellis - Softly... But With That Feeling / Thank You, Charlie Christian

Bitrate: MP3@320K/s
Time: 75:13
Size: 172.2 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[5:46] 1. One Note Samba
[1:57] 2. Toni
[5:43] 3. Like Someone In Love
[5:53] 4. Jim's Blues
[3:36] 5. John Brown's Body
[4:12] 6. Detour Ahead
[5:38] 7. You Better Be Ready
[5:10] 8. Gravy Waltz
[3:18] 9. Pickly Wickly
[2:53] 10. I Told You I Loved You, Now Get Out
[4:44] 11. Cook One
[4:20] 12. Karin
[2:54] 13. Cherry Kijafa
[7:39] 14. Thank You Charlie Christian
[2:49] 15. Alexander's Ragtime Band
[2:57] 16. Lemon Twist
[3:35] 17. Everything's Pat
[2:01] 18. Workin' The Truth

Twofer: Tracks #1-8 from the Verve album "Softly... But With That Feeling" (V6-8448). Tracks #9-18 from the Verve album "Thank You, Charlie Christian" (MGV S 6164)

Guitarist Herb Ellis first became prominent as a member of the Oscar Peterson Trio from 1953 to 1958 in a musical and personal community of spirit rare in jazz history. It was during this period that, in addition to recording countless Verve LPs with Peterson, he began making albums as a leader, including the two excellent releases in this collection. Recorded with the pick of the crop of West Coast jazz musicians, these sessions confirm an assessment Ellis made in 1961 of his own evolution through the years: “As Oscar said to me, you can only develop what you are best capable of doing, I hope I can continue to develop in just that way.”

His personal roots, affirmed here on Thank You Charlie Christian, but also evident on Softly... But with That Feeling, go back to another great guitarist, Charlie Christian. “Before that I just played fast,” Ellis said. “In fact, the first time I heard Charlie I thought he really wasn’t so much, because I felt I could play faster than that. Then after a few more times he really hit me, and I realized that speed wasn’t everything. I got quite emotional—put my guitar away and said I’d never play again. But the next day I got it out and started to try to play like Charlie.” He succeeded but, as these recordings prove, he found his own distinctive and inimitable voice to become one of the greats of jazz guitar.

Herb Ellis (g), with Victor Feldman, Frank Strazzeri (p), Harry Babasin (cello), Leroy Vinnegar, Chuck Berghofer (b), Ronnie Zito, Kenny Hume (d).

Softly... But With That Feeling / Thank You, Charlie Christian

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Dion - Ruby Baby

Bitrate: MP3@320K/s
Time: 32:01
Size: 73.3 MB
Styles: AM pop, R&B
Year: 1963/2013
Art: Front

[2:35] 1. Ruby Baby
[3:07] 2. The End Of The World
[2:07] 3. Go Away Little Girl
[2:33] 4. Gonna Make It Alone
[3:04] 5. Fever
[2:46] 6. My Mammy
[2:29] 7. Will Love Ever Come My Way
[3:12] 8. The Loneliest Man In The World
[2:41] 9. You Made Me Love You (I Didn't Want To Do It)
[2:27] 10. He'll Only Hurt You
[2:46] 11. You're Nobody 'til Somebody Loves You
[2:09] 12. Unloved, Unwanted Me

Dion's stint at Columbia Records between 1962 and 1966 has been justly hailed as a period in which he grew substantially as an artist, especially when he dug into more mature material and earthier, bluesier influences. It must also be pointed out, however, that he also recorded some tracks that were substantially less impressive and progressive, especially at the start of his stint with the company. Ruby Baby, his first Columbia album, was actually not all that different from the typical LP of a talented teen idol of the time in its unsatisfactory mix of approaches, apparently aimed at helping establish the singer's all-around entertainer credentials. The title track was his first, and one of his best and gutsiest, hit singles, yet oddly little else on the record was as forceful or even too similar. Instead there were unnecessary covers of a couple contemporary hits, "The End of the World" and "Go Away Little Girl," and vaguely jazzy/pop standard-ish numbers that indicated there were hopes to cross Dion over into Bobby Darin territory. "The Loneliest Man in the World" and "He'll Only Hurt You," a little weirdly, sound a bit like Roy Orbison imitations. "Ruby Baby" aside, only on the relatively tough "Gonna Make It Alone" and the softer, more doo wop-flavored "Will Love Ever Come My Way" did the kind of Dion heard on his early-'60s rock hits emerge. ~Richie Unterberger

Ruby Baby

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Rudy Linka - Czech It Out!

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Post bop, Guitar jazz
Year: 1994
Art: Front

[5:17] 1. Old And New (Orleans)
[5:56] 2. Just On Time
[4:16] 3. Uptown Express
[7:15] 4. How Deep Is The Ocean
[4:05] 5. Traveler
[5:11] 6. Welcome To The Club
[5:45] 7. Folk Song
[7:20] 8. At This Point
[7:26] 9. Love Letters

Guitarist Rudy Linka covers a lot of ground on his Enja CD, ranging from straightahead standards and a boppish blues to some dry originals worthy of John Scofield, a bossa nova and "Old & New (Orleans)" which combines parade rhythms with a funky blues. Linka's interplay on this trio set with bassist George Mraz and drummer Marvin "Smitty" Smith is impressive as is the leader's low-volume yet high-intensity solos. ~Scott Yanow

Czech It Out!

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Rein De Graaff - Duets

Bitrate: MP3@320K/s
Time: 60:16
Size: 138.0 MB
Styles: Piano jazz
Year: 1999/2008
Art: Front

[4:41] 1. What Is This Thing Called Love
[6:50] 2. These Foolish Things
[7:09] 3. I Remember You
[6:12] 4. Darn That Dream
[5:39] 5. Just Friends
[6:07] 6. Pinehill Blues
[7:59] 7. How Deep Is The Ocean
[5:52] 8. I'll Remember April
[1:24] 9. My Melancholy Baby
[8:20] 10. Star Eyes

Rein de Graaff (piano); Charles McPherson (alto saxophone); Marius Beets (bass). Recording information: Pinehill Studio, Leersum, The Netherlands (01/16/1999-02/23/1999).

Dutch pianist Rein De Graaf is an unassuming performer, best known, perhaps, as a first-rate accompanist. As he shows on this recording, however, he is also a superb leader and soloist. Joined on half the cuts by American bopper alto saxophonist Charles McPherson, and on the others by bassist Marius Beets, De Graaf revisits popular standards including "What Is This Thing Called Love?," "Darn That Dream," and "Star Eyes." If there are no startling moments, there is a consistent commitment to high quality that is evident on every track. Charles McPherson is as steady as they come, and every note he blows seems to be perfectly chosen. Beets is also a fine partner for the pianist, his rich tone and choice notes a nice complement. None of these performers engage in any sort of flashy technique -- only a nicely honed structure that exudes life. Like a Tommy Flanagan or a John Hicks, De Graaf may not get the headlines, but listeners will be rewarded by his solid playing. ~ Steven Loewy

Duets

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