Ebbe Jularbo - C-Jam Blues

Bitrate: MP3@320K/s
Time: 44:07
Size: 101.0 MB
Styles: Traditional folk, Standards
Year: 1988/2013
Art: Front

[2:55] 1. The Best Things In Life Are Free
[2:50] 2. Lazy River
[2:43] 3. Dinah
[3:11] 4. Always In My Heart
[2:29] 5. The World Is Waiting For The Sunrise
[2:18] 6. September In The Rain
[2:47] 7. Linger Awhile
[3:03] 8. Once In A While
[3:27] 9. Please Don't Talk About Me When I'm Gone
[3:49] 10. Trubbel
[2:40] 11. Avalon
[2:51] 12. Bye Bye Blackbird
[3:10] 13. Whispering
[2:45] 14. Marie
[3:02] 15. C-Jam Blues

Oskar Eberhardt "Ebbe" Jularbo, född 11 januari 1915 i Katarina församling, Stockholm, död 8 januari 1991 i Enskede, Stockholm, var en svensk dragspelare, son till dragspelaren Calle Jularbo. Han gifte sig 7 juni 1944 med Katja Iris Vendela Dorotea Solveig, född 27 december 1914 i Avesta.

Jularbo och hans far omnämns i Povel Ramels Birth of the gammeldans från revyn På avigan (1966): "Först kommer Calle Jularbo med Eberhardt i hand..."

C-Jam Blues

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Jeanne Newhall - Paris Nights

Bitrate: MP3@320K/s
Time: 46:20
Size: 106.1 MB
Styles: Piano/vocal jazz, New Age
Year: 2002
Art: Front

[3:49] 1. I Will Wait For You- Les Parapluies De Cherbourg
[6:46] 2. Claire De Lune
[2:51] 3. Stardust- Etoile D'amour
[4:32] 4. Let It Be Me (Je T'appartiens)
[3:24] 5. First Gymnopedie
[5:09] 6. The Days Of The Waltz- La Valse A Mille Temps
[3:05] 7. Elegie
[4:27] 8. Pieces Of Dreams
[2:54] 9. Frere Jacques
[5:29] 10. I Wish You Love
[3:48] 11. I Will Say Goodbye- Je Vivrai Sans Toi

If you cannot afford to go to France but you want the feel, delight in Newhall's Paris Nights. Vocals in French are rich and lovely and the cd is relaxing. This is one to keep! ~Cindy Gee

Jeanne Newhall is a well-respected composer and sophisticated vocalist and her vast musical roots have impacted jazz and new age since the early '90s. But before her successful recording career, Newhall's musical dreams were firmly shaped during her early childhood when she began tickling the ivories at age six. The early teenage years of mastering the piano while growing up on a farm in her native Phoenix led Newhall to learn six Mozart concertos by age 15. Opportunities to attend some of the nation's most prestigious music schools such as Julliard and Eastman didn't strike her fancy, however. Newhall studied with Abbey Simon at Indiana University before earning a degree from Arizona State. By the late '80s she was serious about a recording and performing career.

Paris Nights

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Oscar Peterson - Debut: The Clef/Mercury Duo Recordings 1949-1951 (3-Disc Set)

Recording Date: September 18, 1949 - February 26, 1952. Oscar Peterson: piano; Ray Brown: bass; Major Holley: bass.

Piano giant Oscar Peterson's professional career spanned approximately 60 years and produced a prolific amount of recordings, though most of what he waxed during his first two decades was for labels launched by jazz impresario Norman Granz. But Peterson's early duo recordings have been neglected during the CD era until this comprehensive, three-CD set of his duets with Ray Brown or Major Holley made between 1949 and 1951.

While the story of how Granz discovered the phenomenal young pianist has been told in various ways, the producer sought to gain greater exposure for him by featuring Peterson on stage in the United States. Being a Canadian, Peterson was unable to perform legally in the US due to work restrictions on foreign visitors, but Granz solved that problem by providing the pianist a ticket to his 1949 Jazz at the Philharmonic concert at Carnegie then announcing him as a surprise guest, pairing him with the virtuoso bassist Ray Brown, as a planned trio with Buddy Rich failed to materialize after the drummer was drained following his earlier set. Peterson stole the show with his three featured numbers with Brown, who was not only a magnificent timekeeper but also a significant foil for the newcomer. Disc One consists of their complete 1949 set and a return performance the following year, with Peterson's driving "Carnegie Blues" and a previously unissued "Tea For Two" being highlights. Given the age of the source material, the sound is surprisingly good.

Seven duo sessions would take place over the next year-and-a-half, five with Brown and two with Holley; Disc Two includes sessions with each. The first formal meeting with Brown produced a hit record of "Tenderly," which combined just the right mix of swing, technique and elegance. Peterson's lively "Debut," flashy "Oscar's Blues" (both with Brown) and blazing bop vehicle "Nameless" (the latter with Holley) never became widely known but revealed his promise as a composer. The pianist's first encounter with Holley included 13 other tracks; like Brown, Holley was not relegated exclusively to a supporting role but provoked Peterson with his inventive lines, particularly showing off his abilities in the still-popular Latin favorite "Tico Tico." Although "I'll Remember April" is often performed by boppers at a blazing tempo, Peterson and Holley opt for a slow, dreamy setting that works very well. Holley's potent bass line powers Peterson's energetic rendition of Johnny Hodges' neglected gem "Squatty Roo," though there is some noticeable deterioration in the source material for this track.

The third disc, except for two selections, is all Brown. "Caravan" would become a staple in Peterson's repertoire and this early effort is full of flash while swinging like mad, with Brown matching the pianist's virtuosity throughout the performance. Peterson's choppy "Salute to Garner" mimics the style of the popular pianist without sounding overly imitative while his dramatic setting of "Dark Eyes" may seem a bit excessive during the introduction but quickly settles into a swinging manner. Bob Haggart's "What's New" was still a relatively recent work and had not yet become a standard; the duo's treatment blends improvisation with its elegant theme in a satisfying way. "How High the Moon" was already a feature in the repertoires of most jazz musicians by 1950, yet Peterson restrains himself from the furious tempo that many players preferred in order to show off. "The Nearness of You" and the waltz setting of "Laura" shimmer with beauty. Peterson's bluesy "Slow Down" lists Barney Kessel and Alvin Stoller present, though neither man is audible on this track. Holley takes Brown's place for the frenetic "Lover" and the previously unissued "There's a Small Hotel."

Peterson continued to work regularly with Brown in a trio setting until the mid '60s and they reunited over the decades (though they only returned to the duo format on two '70s recordings, one to back Ella Fitzgerald) until the bassist's death in 2002. Aside from the abrasive cardboard CD holders, this boxed set is first class: terrific liner notes by David Ritz, many vintage photographs, a complete discography plus reproductions of the original album jackets and notes. Consider Debut an essential Oscar Peterson collection. ~Ken Dryden

Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 1)
Bitrate: MP3@320K/s
Time: 33:10
Size: 75.9 MB
Styles: Piano jazz
Year: 2009

[0:49] 1. Announcement By Norman Granz
[7:19] 2. I Only Have Eyes For You
[3:45] 3. Fine And Dandy
[8:23] 4. Carnegie Blues
[5:11] 5. Gal
[4:12] 6. Padovani
[3:28] 7. Tea For Two

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 1)

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Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 21)
Bitrate: MP3@320K/s
Time: 75:07
Size: 172.0 MB
Styles: Piano jazz
Year: 2009

[2:48] 1. Debut
[2:52] 2. They Didn't Believe Me
[2:47] 3. Lover Come Back To Me
[3:23] 4. Where Or When
[3:31] 5. Three O'clock In The Morning
[3:31] 6. All The Things You Are
[3:41] 7. Tenderly
[3:10] 8. Oscar's Blues
[3:05] 9. Little White Lies
[3:09] 10. In The Middle Of A Kiss
[2:52] 11. Nameless
[3:17] 12. Two Sleepy People
[2:56] 13. Jumpin' With Symphony Sid
[3:12] 14. Robbins Nest
[2:58] 15. Tico Tico
[2:27] 16. Get Happy
[3:04] 17. Smoke Gets In Your Eyes
[3:08] 18. Deep Purple
[2:23] 19. Exactly Like You
[3:30] 20. I'll Remember April
[3:15] 21. Easy To Love
[3:01] 22. Takin' A Chance On Love
[3:21] 23. Squatty Roo
[3:35] 24. After All

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 2)

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Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 3)
Bitrate: MP3@320K/s
Time: 59:52
Size: 137.1 MB
Styles: Piano jazz
Year: 2009
Art: Front

[2:48] 1. Caravan
[3:01] 2. Summer Nocturne
[2:48] 3. Salute To Garner
[3:03] 4. I Get A Kick Out Of You
[3:17] 5. What's New
[3:48] 6. Dark Eyes
[3:29] 7. What Is It
[2:58] 8. The Way You Look Tonight
[3:39] 9. Minor Blues
[3:44] 10. Slow Down
[2:57] 11. How High The Moon
[3:12] 12. The Nearness Of You
[3:38] 13. There's A Small Hotel
[2:59] 14. Lover
[2:53] 15. Gypsy In My Soul
[2:19] 16. On The Alamo
[2:37] 17. Lullaby Of The Leaves
[3:28] 18. Laura
[3:04] 19. September In The Rain

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 3)

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Alice Groves - Soft Illusions

Styles: Vocal, World Fusion
Year: 2010
File: MP3@320K/s
Time: 41:36
Size: 95,6 MB
Art: Front

(3:43)  1. A Taste of Honey
(2:55)  2. Today's Lover
(3:36)  3. A Day in the Life of a Fool
(5:10)  4. The Phoenician
(3:29)  5. Canada
(4:05)  6. If I Could Reach Your Heart
(4:34)  7. Don't Cry For Me Argentina
(5:02)  8. Besame Mucho
(9:00)  9. Apostrophe

From a little girl of six years old chosen to represent her school singing the ballad "I Had a Little Secret" at the county stage competition in rural Ontario, to the searing crossover-soprano vocalist singing on stages in Cannes, France, or back home on Mainstage, Parliament Hill on Canada Day or in the National Arts Centre of Canada, Alice has travelled a passionate if challenging road as a singer-poet-songwriter - now adding musical co-arranging and producing into the mix. As an artist passionate about every aspect of her art and craft, and unendingly devoted to "singing ALL the great songs that have ever been written," as well as her own originals, Alice is like a whirling dervish from recording session to live performance and from one genre to another pulling it all together in her delivery which has thousands of fans making comments such as: "Wow! I listened to your music on your profile and.....Wow!" (Robert Rubio, Myspace); and "What a voice!" (Mrchiefmv, Youtube). Because it's about the voice She puts it out there every time  both heart and soul. Her song choices are very up-close and personal to her and the listener can hear that. She's reaching out around the planet. And for that reason, her sound carries depth and mystery which speak to the human heart, and not to one particular type of person or nationality. After all, she says "Music is the sonic glue that holds humanity together."

When her family moved from a rural Ontario farm to the very multi-cultural capital of Canada, Ottawa (she was nine), Alice's 'world' journey began - a journey into many cultures and languages - all rich with prismatic colour and charm and possibilities. Ever proud of her Celtic Anglo-Irish parents and heritage, she nevertheless absorbed the French language quickly, made friends with anyone and everyone the more cultural variety the better - and sang in school and church, radio and television choirs throughout elementary and secondary school. Singing in clubs during her university years "helped to pay my way"..... and then the music went into a sort of necessary hiatus during a family posting (she had married her university mate) to the Middle East (Beirut Lebanon). But the years in Beirut were to fuel her thirst for music and provide new and larger direction to her already eclectic multi-cultural sound and repertoire. Her love for the Moorish Arabic-Spanish sound, instrumentation, and feel, she realized, was not far-removed from her native Celtic sound. After all, while music/sound is endemic to its native origins, people, especially the Celts, have migrated across the face of Europe and the Middle East so endlessly that their music is not mutually exclusive. "Every culture's music is charming and I want to sing like the wind, touching down here and there and everywhere, carrying music with me, with my voice at the core, but with sounds that everyone will recognize - and this is what 'World' music is all about. It's my way of talking to people, no matter where they're from. Sure I'm an Irish-English Canadian, but I speak "Music"!"

This fascination with world cultures starting in Ottawa, and mushrooming in the Middle East, found a further avenue when, back in Canada after the 'wild' years in Beirut, Alice joined forces with a Brazilian-Peruvian quartet which performed and recorded songs of the inimitable Carlos Jobim, Jorge Ben, Luiz Bonfa, et al. So that now a picture was emerging of this artist as someone who could weave the sounds she fell in love with into HER OWN pure voice and Celtic sensibility. Leaving the quartet at the end of a decade of regular performances everywhere from small cafes to concert halls, Alice decided to re-examine her musical DNA; and the result is the album "Soft Illusions". "These are songs that I love and feel crazily-passionately about! The kind of songs that make me fly, that take me to another place and time!" - and it must be working for the listener too, because her fans love it and are buying it up on the Internet. As one of her Youtube fans recently commented: "Love your voice. It really transports the listener to a different place and time, and that's a rare gift."

While "Soft Illusions" is clearly a 'World' genre album in its far-reaching themes and stylings, listeners can hear the jazz and folk edges flowing through. As Chicago's Thadeus Project has commented about her: "...Classy voice, Alice! I'll bet you could bring down the house with Roberta Flack's 'The First Time Ever I saw Your Face...' " The extra 'surprise' in "Soft Illusions" is soul-searing lyrics like "The Phoenician" - delivered by Alice as a 'spoken word' lyric with her flowing soprano vocal scatting in the background intermittently with the music. Or her original "Today's Lover" about the fleeting, insubstantial nature of modern relationships which, although hauntingly sad, do not rob the singer of hope. The despair of lost love leaves her asking questions and yearning... No matter what song you listen to on "Soft Illusions", you can count on the fact that it will be about LOVE - whether gloriously ecstatic and/or gloriously painful - always the highest form of meaning in life; and you can count on hearing a uniquly blissful soprano voice according to the thousands of testimonials pouring in from around the world such as that of Italian photographer Marco Girolami - "Your voice is gorgeous!" (Myspace); and, finally, last but not least, you can count on feeling 'touched' by her soul... And that, is her "Little Secret". http://www.cdbaby.com/cd/MaryAlice1

Soft Illusions

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Eddie Higgins Trio - You Are Too Beautiful

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 59:51
Size: 137,5 MB
Art: Front

(4:51)  1. A Nightingale Sang In Berkeley Square
(5:58)  2. All The Things You Are
(5:03)  3. Lover Man
(6:36)  4. Like Someone In Love
(4:10)  5. Historia De Una Amor
(4:43)  6. Anything Goes
(4:44)  7. In A Sentimental Mood
(4:33)  8. In The Still Of The Night
(4:54)  9. Georgia On My Mind
(4:15) 10. Blue Bossa
(4:55) 11. You Are Too Beautiful
(5:08) 12. I'll Be Seeing You

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter. ~ Bio  https://itunes.apple.com/pt/artist/the-eddie-higgins-trio/id543547892?l=en#fullText

You Are Too Beautiful

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Jessy J - Tequila Moon

Styles: Vocal And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 46:00
Size: 105,9 MB
Art: Front

(4:36)  1. Tequila Moon
(3:44)  2. Spanish Nights
(4:33)  3. Sin Ti/Without You
(5:04)  4. Mas Que Nada
(4:07)  5. Fiesta Velada
(3:36)  6. Poetry Man
(4:03)  7. Turquoise Street
(3:03)  8. PB 'N' J
(3:39)  9. Bésame Mucho
(3:49) 10. Running Away
(5:42) 11. Song for You

It's hard to imagine Jessy J as one who wanted to play straight-ahead jazz. Yet that was the type of demo she submitted to producer/guitarist Paul Brown, whose style and influence in recorded music is about as far from straight-ahead jazz as one can get. To no surprise, the relationship that developed between Brown and the saxophonist/vocalist has Jessy J fitting comfortably within the smooth jazz format, although her debut, Tequila Moon, has a Latin theme. Born of Mexican parents in Portland, Oregon, and reared in Hemet, California, Jessy J has deep roots in Latin music. She was a huge fan of Cannonball Adderley and John Coltrane a further contradiction of her format-friendly debut but also loved pop. In addition to Brown, her professional career has had her in recording sessions or on stage with such artists as Michael Bublé, The Temptations and Michael Bolton. She's also forged bonds with saxophonists Mindi Abair and Kirk Whalum. Tequila Moon features Jessy J with a variable mix of session players, with the greater contributions coming from Brown, percussionist Richie Gajate Garcia, keyboardist Ricky Peterson (who also does string synths) and bassist Roberto Vally. Brown also co-wrote five of the seven original songs. The others were penned by drum programmer Donald Hayes and keyboardist Kiki Ebsen.

The title song sets the mood for the entire package. Its laid-back groove is pleasant, aided by Jessy J's smooth tenor sax lead, underscored by Brown's guitar and Gregg Karukas on keys and string synths. "Sin Ti/Without You" presents an easy-going samba feel, accented by Peterson on keys, Vally's bass line and drummer Oscar Seaton's rim shots. Toward the end, Jessy J shows her chops on tenor. Jorge Bem's "Mas Que Nada" has been covered many times over. With Jessy J setting aside her sax in order to sing lead, this cover is nicely done but lacks the energy of previous versions, particular one done by Al Jarreau. Still, Jessy's charming voice makes this worth listening to, with drummer Sergio Gonzales helping it with some adept cymbal work. One of the better showcases for Jessy J's talent as a songwriter and musician is "Fiesta Velada," which she co-wrote with Brown. 

One major plus is that this straightforward Latin piece lacks the cookie-cutter, smooth jazz production which overpowers most of the songs in this set. Vally, Peterson, Seaton and Garcia complement the leader while Jessy J and her tenor have a party. Tequila Moon is a nice overall debut for Jessy J. The selections all clock in at less than six minutes, with the majority between three and four. That certainly increases the probability of airplay on smooth jazz, adult contemporary, or even easy listening stations. Unfortunately, the commercialization of this recording dilutes the beauty of Jessy J's performance. ~ Woodrow Wilkins  http://www.allaboutjazz.com/tequila-moon-jessy-j-peak-records-review-by-woodrow-wilkins.php

Personnel: Jessy J: tenor sax (1-4, 5, 7, 8, 11), vocals (4, 9), flute (5), soprano sax (6, 10); Sergio Gonzales: drums (1, 4); Gregg Karukas: keys (1, 4) string synths (1, 4); Paul Brown: guitar (1-3, 8-11); Richie Gajate Garcia: percussion (1-5, 9); Donald Hayes: bass (2), keys (2), drum programming (2); Ricky Peterson: string synths (2, 3, 5, 9, 10), piano (2, 5, 10), keys (3); Roberto Vally: bass (3-11); Oscar Seaton: drums (3, 5); Kiki Ebsen: keys (6-8), string synths (6-8), piano (11); Dave Beyer: drums (6-8, 11), percussion (6-8); Chad Wright: drums (10); Nino Sanchez: percussion (10).

Tequila Moon

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Eddie Jefferson - Body And Soul

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 35:21
Size: 81,3 MB
Art: Front

(1:07)  1. Introduction By Ed Williams
(2:44)  2. See If You Can Git To That
(4:26)  3. Body And Soul
(2:56)  4. Mercy, mercy, mercy
(4:24)  5. So What
(2:18)  6. There I Go, There I Go Again
(2:47)  7. Psychedelic Sally
(4:29)  8. Now's the Time
(3:28)  9. Filthy McNasty
(6:37) 10. Oh Gee

Eddie Jefferson had not been on record in quite a few years when he recorded this excellent set (reissued on CD) for Prestige. A few of the songs ("Mercy, Mercy, Mercy," "Psychedelic Sally" and "See If You Can Git to That") were attempts to update the singer's style in the mod idiom of the late '60s but the most memorable selections are "So What" (on which Jefferson recreates Miles Davis's famous solo), "Body and Soul", "Now's the Time," "Oh Gee" and "Filthy McNasty"; the latter has very effective lyrics by writer Ira Gitler. Tenorman James Moody, trumpeter Dave Burns and pianist Barry Harris are in the supporting cast of this excellent set. ~ Scott Yanow  http://www.allmusic.com/album/body-and-soul-mw0000202949

Personnel: Eddie Jefferson (vocals); James Moody (flute, tenor saxophone); Dave Burns (trumpet); Barry Harris (piano); Billy Gene English (drums).

Body And Soul

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Carol Sloane - Something Cool

Size: 83,9 MB
Time: 36:01
File: MP3 @ 320K/s
Released: 1979/2003
Styles: Jazz Vocals
Art: Front

01. Something Cool (4:53)
02. Jackie (3:54)
03. Baby, Don't You Quit Now (4:36)
04. Can't We Be Friends (3:50)
05. You're A Bad Influence On Me (4:03)
06. Cotton Tail (4:19)
07. Some Other Spring (7:06)
08. Tomorrow Mountain (3:16)

When Something Cool was released in 1979 by Candid, Carol Sloane hadn't released a record in America for 15 years. Always underrated, the singer had been just plain invisible, which was really too bad because her clear, cool voice should have been widely available to vocal jazz fans. Fortunately, this record stirred up interest in Sloane and, after a slight dip in the mid-'80s, she has been recording steadily since. This record is an easygoing, swinging record that features Sloane singing with a small and sympathetic combo, with the always great George Mraz on bass. The tunes she sings are a mix of standards like "Can't We Be Friends" and "Cotton Tail," and lesser-known songs like Jimmy Rowles and Johnny Mercer's "Baby, Don't You Quit Now" and Ellington's "Tomorrow Mountain." The highlights of this very enjoyable disc are her slyly phrased version of Cole Porter's obscure "You're a Bad Influence on Me" and the title track, which is best known as done by June Christy. Sloane gives her a run for the money by cutting the tempo and upping the emotional stakes. This is a fine comeback record by a wonderful singer. Fans of vocal jazz should seek it out, especially if they haven't heard of Carol Sloane, as this is a nice introduction to what she can do. ~Review by Tim Sendra

Something Cool

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Swing From Paris - Webster

Size: 127,3 MB
Time: 54:18
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Gipsy Jazz
Art: Front

01. The Man I Love (4:03)
02. Lulu Swing (5:34)
03. Si Tu Vois Ma Mere (2:38)
04. Caravan (6:52)
05. Deep Purple (3:34)
06. Webster (1:52)
07. Dream Of You (5:13)
08. Extase (Ecstasy) Tango (2:28)
09. Stompin’ At The Savoy (3:52)
10. When I Was A Boy (4:46)
11. Nuages (5:30)
12. La Partida (4:39)
13. Festival 48 (3:11)

Across 13 tracks ‘Webster’ features our arrangements of music from across Europe and beyond – some jazz ‘standards’, some by Django Reinhardt / Stéphane Grappelli, and tunes by well-loved (and some lesser-known) composers from 1924 to present day.

Personnel:
Fenner Curtis - violin
Andy Bowen - lead guitar
Steve Laming - rhythm guitar / double bass
Andy Wood - guitar

‘Swing from Paris’ is a jazz ensemble, comprising violin, guitars and double bass. With the French Swing of Django Reinhardt and Stephane Grappelli expect jazz and swing classics, evoking the sounds of the streets of Paris.

Webster

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Friend 'N Fellow - Live Vol. 2

Size: 128,7 MB
Time: 55:16
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz/Pop/Soul Vocals
Art: Front

01. Can't Buy Me Love (2:16)
02. Naked In A Jacket (3:29)
03. It Makes No Difference (3:57)
04. House With 6 Rooms (5:42)
05. Grandma's Hands (4:36)
06. September (4:39)
07. Summertime (4:32)
08. Unhurt World (5:56)
09. Taxi (4:44)
10. Home (6:33)
11. I Still Haven't Found What I'm Looking For (5:01)
12. Angel (3:47)

What are the essentials of powerful musical expression? We believe a soulful black female voice and a virtuoso acoustic guitar. Provided they are of the caliber of Friend 'n Fellow. Depth, class and entertainment from an exceptional duo that plays so efficiently that they actually should be called a "band" with their incredible dynamics and emotionality. The names of these two experienced musicians are: Constanze Friend (vocals) studied modern voice in Weimar. As the singer of the R&B Band "Mr Adapoe", Constanze was a guest at many European festivals, e.g. as a support act for Alvin Lee and James Brown. Thomas Fellow (guitars) studied concert guitar for seven years in Weimar. He has won prizes at international competitions and has been on concert tours throughout Europe, the U.S.A. , India and South America. Professor Thomas Fellow is the chairman of the Department of Guitar/World Music at the Conservatory of Music in Dresden, and conducts courses at various other music conservatories and festivals.

Friend 'n Fellow have been performing as a duo since 1991. Concerts in London, Paris, New York, Peking, Vienna, Zurich, Lucerne Festival (Lucerne, Switzerland), Tollwood-Festival Munich, Festival Internacional de la Porta Ferrada (Spain), 1st Blues & Soul Weekend (Zurich, Switzerland), Simmen Lörrach, Jazzrally Dusseldorf with Ray Charles, Al Jarreau, Simply Red, Marianne Faithful, Maceo Parker.

In the music of FRIEND 'N FELLOW the intensity of blues, the sound of soul and the freedom of jazz unite in a very unique way. Deeply impressed and moved, the audience follows the virtuoso way these two exceptional musicians perform together.

Live Vol. 2

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Dr. Bob Finney Jazz Group - The Sax Doctor

Size: 129,6 MB
Time: 55:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals, Saxophone Jazz
Art: Front

01. Europa (4:18)
02. Wave (3:14)
03. Route 66 (2:36)
04. Moon Glow (Theme From Picnic ) (3:08)
05. Equinox (5:46)
06. Bye Bye Blues (2:34)
07. You Are Too Beautiful (2:38)
08. Night Train (3:17)
09. It Was A Very Good Year (4:16)
10. Harlem Nocturne (2:15)
11. Bernie's Tune (3:51)
12. Begin The Beguine (3:35)
13. Mack The Knife (2:52)
14. Laura (2:58)
15. So Nice (2:29)
16. I'll Remember April (2:51)
17. Yesterdays (2:17)

During his Cranford, New Jersey high school days, Bob Finney was the tenor saxophonist in a Dixieland jazz group. The group played locally at high school events and variety shows around town. But he wanted more. While still a teenager, he heard that every Tuesday night at Eddie Condon's club in Greenwich Village there were open jam sessions and if you were lucky enough to get in you might play with some big name talent. So, without his parents' permission, he hustled off to New York as many Tuesdays as he could manage. Finally, he got his chance to pay with trombonists Jack Teagarten and Miff Mole, trumpeter Red Allen, and drummer Cozy Cole. Once, clarinetist Peanuts Huckow leaned over to Bob and said, "Hey kid. Try this lick." Coupled with his formal lessons, these treks to Eddie Condon's helped to make Bob's improvisations that much sweeter.

Later in college, Bob worked as a sideman for touring big bands such as Ray Anthony, Ray McKinley, Ralph Marterie, and Woody Herman's "3rd Herd." All of these opportunities helped to hone his skills and finance his education. Bob laid his tenor saxophone down for thirty-five years serving in the United States Navy, pursuing an academic career, and raising six children with his first wife. With his second wife, Scarlett, they began their musical journey together when he purchased a new sax and had his old "licorice stick" refurbished. He believes his past experiences gave him a solid underpinning so that picking up the ax after such a long time was like riding a bike--you just never forget. One of his college students asked him recently what was different about playing now as opposed to "the old days," and Dr. Bob responded, "It takes a little longer for the ideas to transfer from the brain to the fingers, but having lived so long, I now have better ideas!"

The Sax Doctor

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Andrea Braido Jazz Organ Trio - Andrea Braido Jazz Organ Trio

Size: 140,5 MB
Time: 60:45
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Running (4:31)
02. Night Train (5:37)
03. Silver Moon (7:34)
04. Gravity (4:09)
05. Mick Moments (6:58)
06. Gilles Villenueve (4:25)
07. Cat Steps (5:00)
08. Lonnie's Lament (8:18)
09. Fried Pies (6:34)
10. Relax In Manduria (7:34)

Born in Trento and started playing drums at age 4 years, then graduated in solfeggio. Verso theory and the age of 12 began playing guitar and bass always self-absorbing all he could hear the music. After a short trip to Boston and New York, made ??up of many jam sessions with key players in the history of the jazz world, he returned to Italy and started working professionally. He plays all types of guitar, bass guitar, drums and percussion. His guitars are present in many CDs and DVDs by artists such as: Vasco Rossi, Marcus Miller, Mina, Laura Pausini and many others. It has also been on tour with many players in the pop scene and Italian rock. Afterwards he performed in many major jam sessions (and some recorded in the studio and on tour).

As a musician of some orchestras used in programs Rai, has played with many international guests such as Liza Minelli, Lenny Krawitz, Randy Crawford and others. Between tours and other personal commitments (internship sessions) has played in Germany, Austria, Czech Republic, Hungary, Spain, Portugal, Belgium, Holland, Estonia, the Soviet Union, almost all of South America, England (London). And considered by many to be one of the most talented and versatile guitarists around. After being committed for many years as a session man live and studio began offering its projects since 1988, as in this live activity. In all active in 10 albums and 8 (“Feelings in Time” 2006 / “in Braidus Funk “2007,” Jazz Garden & Friends “in 2008, Latin Braidus (2009),” Andrea Braido Jazz organ trio “(June 2011) and the last” from the Beatles to Jobim’s passing ... (November 2011) with songs rearranged Jobim / Gershwin / Marcos Valle / Bacharat and Beatles made ??Videoradio / Raitrade. In addition, 2 instructional DVDs for distribution with Playgame Carish.a new name “The Guitar of Andrew Braid” and “Andrea Braido, Groove and rhythm guitar in the Arrangement” over the last book of transcriptions of famous solos played by Andrea Braido for the series “Great Italian Musicians” by the Carisch. Some of the most important magazines in the industry have dedicated the cover more than once.

Andrea Braido Jazz Organ Trio

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Stanislaw Soyka & Roger Berg Big Band - Swing Revisited

Size: 105,4 MB
Time: 45:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Vocals, Swing, Big Band
Art: Front

01. Let The Good Times Roll (3:10)
02. Caravan (3:46)
03. Don't Get Around Much Anymore (2:51)
04. Fly Me To The Moon (2:31)
05. Come Sunday (2:54)
06. Hallelujah, I Love Her So (2:47)
07. I'm Just A Lucky So And So (3:28)
08. It Had To Be You (2:17)
09. Love You Madly (4:30)
10. My Funny Valentine (3:04)
11. Night And Day (4:18)
12. Satin Doll (2:39)
13. Take The 'A' Train (3:15)
14. When I Fall In Love (3:31)

American swing played with bravado by leading Polish jazzman Stanislaw Soyka and the Roger Berg Big Band. In their rendition, recorded at sessions in Malmö and Warsaw, the artists refreshed jazz standards by Duke Ellington and Ray Charles among others.

Swing Revisited is an album by Stanislaw Soyka, a noted Polish jazz singer, and the Roger Berg Big Band, a Swedish-Danish constellation. Their collaboration stemmed from a spontaneous jam session at the band's first Warsaw concert. ”I was just overwhelmed by how sensitively they were playing” Soyka recalls. “I couldn't help it and joined in for three pieces. It was fabulous”.

The album, an unparalleled amalgam of different energies, is a foray into the golden era of swing. Recorded in studios in Sweden and Poland, it is not just another forced updating of classical American songs of the 40s. Swing Revisited was recorded along the best „orthodox” lines and with true respect for the swing traditions in order to evoke the old-time masters, because – as the artists emphasize—“you cannot improve on Duke Ellington's music, you just need to live it your way”.

As Soyka says, “This music has been out of radio stations, dance clubs and concert halls for over 40 years. The big band culture evolved. Orchestras sprang up: Thad Jones/Mel Lewis, Gil Evans, Carla Bley and others, which enriched the music so much... at the same time overshadowing the artists from the first half of the century, but… when I played these recordings for some young people who had never heard this kind of music before, their faces were radiant and somewhat amazed. It seems that this kind of music still gives the listener a good vibe”.

Swing Revisited

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Pepper Adams - Pepper Adams Plays The Compositions Of Charlie Mingus

Bitrate: MP3@320K/s
Time: 42:05
Size: 96.3 MB
Styles: Hard bop, Saxophone jazz
Year: 1991/2011
Art: Front

[4:25] 1. Fables Of Faubus
[3:41] 2. Black Light
[2:39] 3. Song With Orange
[5:02] 4. Carolyn
[4:05] 5. Better Git In Your Soul
[5:47] 6. Incarnation
[2:56] 7. Portrait
[7:55] 8. Haitian Fight Song
[5:31] 9. Strollin' Honies

Recording Date: September 9, 1963 & September 12, 1963. Piano – Hank Jones; Tenor Saxophone – Zoot Sims; Trombone – Bennie Powell; Trumpet – Thad Jones; Alto Saxophone – Charles McPherson; Baritone Saxophone – Pepper Adams; Bass – Bob Cranshaw, Paul Chambers; Drums – Danny Richman.

Pepper Adams' Plays Charlie Mingus is a watershed album in Adams' long career. For starters, Mingus himself had a hand in the selection of material for the dates, along with Adams and vibist Teddy Charles. Next, the two dates here, September 9 and 12, 1963, were recorded with two different bands. Most of the material was taped on the earlier date with an octet comprised of Adams, Mingus' own drummer, Danny Richmond, bassist Paul Chambers, and Thad Jones on trumpet and his brother Hank on piano. The latter date added Charles McPherson on alto, Zoot Sims on tenor, Bennie Powell on trombone, and had Bob Cranshaw replacing Chambers on bass. Adams' read of "Fables of Faubus," by the quintet with its loping, rather than careening, pace, was arranged by Thad Jones approved by the composer. Historically, it is also the first recording of the work without vocals. "Incarnation," also by the quintet, was arranged by Adams. Hank Jones leads the band in the piece's difficult rhythmic and harmonic structures, and he edges Adams and Thad Jones on in the front line; Pepper's solo and fills are among the most moving and knotty of his career. Of the octet session, "Haitian Fight Song" is as furious as the composer's, as Cranshaw's bass drives the band inexhaustibly into the spirit of righteous indignation and rage at its heart. On "Better Git It in Your Soul," Sims and Powell's solos are full of gut-bucket funk and stride the R&B line with aplomb and plenty of grease. This is one of those must-own recordings for fans of Adams; but it is also for those who revere Mingus' work, because, as radical as some of these interpretations are, they were not only sanctioned by, but delighted in by the composer. ~Thom Jurek

Pepper Adams Plays The Compositions Of Charlie Mingus

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Ron Levy's Wild Kingdom - Finding My Way

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Jam bands, Soul-jazz
Year: 2003
Art: Front

[7:54] 1. I Try & I Try
[7:20] 2. Best Cookies
[8:12] 3. Steady Like Freddy
[5:51] 4. The Wes Side
[6:13] 5. Exfiled
[6:41] 6. Cuch Cuch
[7:00] 7. Some Sorta Blue
[5:26] 8. Finding My Way
[4:11] 9. Spangled Star Boogaloo

On Finding My Way, organ and piano boss Ron Levy tries to mix up the groove gumbo by incorporating more loops and programmed beats, but also by bringing back the great Melvin Sparks on guitar, and adding the flute and saxophone talents of jazzed-out funkmaster Karl Denson to the mix. Largely, it works. While Levy doesn't seem to be interested in sung beats for any reason other than to hang solos on, he nonetheless gets enough mileage from them and keeping the riffs in the pocket to keep them sailing all the way through. There is plenty of jazz virtuosity, as evidenced by the title cut, "Steady Like Freddy," "I Try & I Try," and "The West Side"; there is plenty of good-time funky stuff, as well, such as "Some Sorta Blue," and "Cuch Cuch." This band knows when to spark it up, and when to lay back, and Levy proved a long time ago that he was a solid bandleader who got fine performances from his sidemen. Recommended. ~Thom Jurek

Finding My Way

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Wave Mechanics Union - Further To Fly

Bitrate: MP3@320K/s
Time: 66:06
Size: 151.3 MB
Styles: Jazz-rock-prog
Year: 2012
Art: Front

[6:13] 1. Further To Fly
[5:56] 2. Selfless, Cold And Composed
[2:58] 3. Caramel
[4:33] 4. Wondrous Stories
[4:11] 5. Heartbeat
[5:06] 6. It Will Be A Good Day
[4:33] 7. The Ability To Swing
[5:02] 8. Think Of Me With Kindness
[4:12] 9. Swordfishtrombone
[4:41] 10. Third Stone From The Sun
[5:06] 11. Slow Like Honey
[4:48] 12. Your Latest Trick
[3:22] 13. Dirty Work
[5:18] 14. The Show Must Go On

Lydia McAdams: vocals; Jon Anderson: vocals (4, 6); Eddie Rich: flute, alto flute; Kara Moran: flute, alto flute; Theena Lewis-Strope: flute, alto flute; Neil Broeker: flute, alto flute; Shawn Goodman: clarinet, bass clarinet; Henry Koperski: bassoon, accordion; Sylvain Carton: saxophone, guitar; Josh Weirich: saxophone; Dave Helms: saxophone; Eddie Rich: saxophone; Dorothy McDonald: saxophone; Robert Olivera: saxophone; Alex Noppe: trumpet, flugelhorn; Jeff Anderson: trumpet, flugelhorn; Ryan Fraley: trombone; Tom Thomas: tuba; Justin Kessler: piano; Art DeQuasie: piano (14); Robert Stright: vibraphone; Chris Capitano: guitar; Lyman Medeiros: bass; Ralph Johnson: bass (1), drums, percussion; Tim Moore: drums, percussion (6); Steve Goodman: violin; Alice Demby: viola; Marjorie Hanna: cello.

Rock music has been mined to the nth degree by jazz prospectors. Trumpeter Miles Davis was doing Michael Jackson and Cyndi Lauper: Memphis Blues Tour a quarter century back; pianist Brad Mehldau has made Radiohead his own; jazz legend Herbie Hancock spoke of new standards by Peter Gabriel and Nirvana; and organ guru Dr. Lonnie Smith has delivered a whole platter of pleasing Beck songs. All of this might lead to the assumption that every rock vein has been stripped clean, but with Further to Fly, Wave Mechanics Union mines one or two that still contain precious ore.

This 30-piece unit, put together by a group of arrangers who wanted to write for themselves for a change, was born in 2004 under a progressive rock-turned-jazz banner. As time went by, the group continued to work in this arena, but evolved and expanded its repertoire to include music from other rock genres and sub-genres. Wave Mechanics Union's debut, Second Season (HXmusic, 2008), still spoke of progressive interests, with King Crimson, Yes, and Rush songs making the cut, but also included some classic rock fan favorites like The Who's "Won't Get Fooled Again" and The Beatles' "Eleanor Rigby." Further To Fly goes even further afield.

For its sophomore album, Wave Mechanics Union decided to keep some favorites like King Crimson and Yes in the mix, but puts a greater emphasis on '80s and '90s entries of all stripes and colors. The album touches on jazz friendly songwriters like Ben Folds, Paul Simon and Tom Waits, as well as art-rocking strangers to jazz like Queen ("The Show Must Go On"). The group even brings Suzanne Vega and Fiona Apple into the picture.

Drummer Ralph Johnson, trombonist Ryan Fraley, pianist Justin Kessler and singer Lydia McAdams refashion all of this music and they do an impeccable job on their respective contributions. "The Show Must Go On" is a transitioning wonder, with piano, accordion, strings and a flat-out rock sound at work at various times. Vibes, bass and voice mingle with winning results on Waits' "Swordfishtrombone," Vega's "Caramel" benefits from some sly low brass backgrounds and a walking bass line, and "Selfless, Cold, And Composed" comes to life as a vibrant jazz waltz.

Instrumental soloists come and go, but McAdams' vocals are the focal point on the majority of the material. She does a commendable job selling the songs in their new yet familiar packages. Former Yes vocalist Jon Anderson drops in to help out on two of that famed band's tunes, but his role is minimal in the album's grand scheme. The arrangers are the real stars here, as they use their large cast of players to create a well-polished end product. ~Dan Bilawsky

Further To Fly

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Kathy Tugman & The David Walters Quartet - Robin On The Frost

Bitrate: MP3@320K/s
Time: 68:04
Size: 155.8 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[4:42] 1. Silver Liner To Rio
[3:53] 2. I Love Being Here With You
[4:59] 3. The Thought Just Hit Me
[5:18] 4. Not This Time
[3:54] 5. What Are You Doing The Rest Of Your Life
[8:42] 6. I Feel The Earth Move
[6:46] 7. My Foolish Heart
[7:54] 8. Things We Said Today
[4:03] 9. Robin On The Frost
[4:51] 10. Who Are You
[3:01] 11. There Will Never Be Another You
[6:42] 12. Redemption Blues
[3:11] 13. Days

Kathy Tugman's first album in seven years is at last out and the wait was certainly worth it. "Robin on the Frost" is a collection of seven covers and six originals and is meant to be representative of a set played by this working band. Kathy and the David Walters Quartet have been playing regularly since the release of their last album, "Almost Off the Dial" in 2004. That togetherness allows the band to tackle this set of tunes, which range in style from jazz standards to blues to familiar and not-so-familiar pop tunes, giving all of the music that somethiing that makes it jazz. Check out the cooking remakes of Carole King's "I Feel the Earth Move" and the Beatles' "Things We Said Today." Then there is the heart-breaking beauty of great ballads like "My Foolish Heart" and "What Are You Doing the Rest of Your Life?" The band swings hard through "I Love Being Here With You" and then waltzes and swings "There Will Never Be Another You."

Clicking nicely with those wonderful songs are six originals that themselves touch on swing, Latin, blues, the ballad and straight-ahead pop. Thematically, the album traces what Paul Simon once called "the arc of a love affair," moving from the excitement of love found, to the salad days of a relationship, to the dawning realization that the affair may be ending, to regret and woe at lost love, to a final acceptance of the end, and even gratitude for what was had and is now lost. This last comes through in touching revival of a Ray Davies tune from the Sixties - "Days."

Kathy and the band play six sets over two nights each month at a jazz club and have done so for five years. As was said earlier, this is a working band and this new album is a work of love and art, but always with the feel of jazz. After all, our motto, often repeated, is "Jazz is the best, but live jazz is better." This record - recorded in a studio, but mostly live in the studio - is a fine sampling of just how true that motto is.

Robin On The Frost

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Jimmy McGriff - Featuring Hank Crawford

Bitrate: MP3@320K/s
Time: 62:35
Size: 143.3 MB
Styles: Hard bop, Jazz-funk
Year: 1978/1990
Art: Front

[6:29] 1. Dust Pan
[6:49] 2. Playland
[6:06] 3. Tapoica
[5:22] 4. Midnight Boogie
[6:34] 5. Walkin Willie
[9:19] 6. Courage
[7:23] 7. Loot To Boot
[4:54] 8. How Long
[2:44] 9. Let's Stay Together
[3:09] 10. The Bird
[3:40] 11. Ain't It Funky Now

Alto man Hank Crawford and organist Jimmy McGriff are made for each other. Mixing the right brew of blues, swing and funk, they compliment one another's soulful sound in distinctive style.

Featuring Hank Crawford

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Chris Cortez - Mum Is The Word

Bitrate: MP3@320K/s
Time: 45:08
Size: 103.3 MB
Styles: Guitar jazz, Contemporary jazz
Year: 2004
Art: Front

[3:17] 1. My Way Is Better
[3:21] 2. Everyday I Have The Blues
[5:12] 3. Georgia On My Mind
[2:59] 4. Bad Attitude
[2:52] 5. Sweet Georgia Brown
[5:43] 6. Honeysuckle Rose
[4:06] 7. Manha De Carnaval
[3:04] 8. Mum Is The Word
[5:10] 9. Trouble With Larry
[2:35] 10. Rhythm Method Blues
[3:43] 11. Lazy River
[3:00] 12. Avalon

Chris Cortez (acoustic guitar), Sam Bruton (piano), Larry Panella (tenor sax, alto sax, flute), Humphrey Davis Jr. (tenor sax, vocals), John Brinson (organ), John Reid (fluegel horn), Billy Bargetzi (trombone), Edwin Livingston (bass), James Singleton (bass), John Wooton (percussion), Jeff Mills (drums).

More often than not, when a musician tries to explore many different elements on a single disc – jazz, blues, vocals, instrumentals, varying personnel, etc. – the result is an album that is uneven and lacking any real cohesiveness. However, on “Mum Is The Word,” guitarist Chris Cortez attempts to do exactly that and succeeds, in spades, on every level.

Altogether, there are 11 musicians that make appearances on this album, with songs that run the gamut from sambas to blues to bebop and yet it consistently has a warm, uniformly ‘small group’ feel about it. The first thing I have to say about Chris Cortez is that he is a phenomenal guitar player – whether he’s playing straight-ahead jazz, Latin or gut bucket blues, he does it at an extremely high level and at the same time in a manner that makes it sound totally relaxed and natural. He has a fantastic feel and sense of rhythm, with a gorgeous tone. Many times, when a player switches styles on an album like this, it is very apparent which style they are most comfortable with, but Cortez seems equally at home in all settings.

I often cringe at the thought of a great jazz instrumentalist actually singing on an album. So many recordings (and concerts) have, to my ears, been marred by someone thinking that just because they are a great sax or guitar player that they must surely be a great vocalist as well. Many of them are sadly mistaken. But Cortez again proves to be the exception to the rule! He is as naturally gifted a singer as he is as a guitarist, with a beautiful voice that is especially suited for the blues (as he proves here with his rendition of “Everyday I Have The Blues”.) As if all these talents weren’t enough, Cortez proves to also be a masterful songwriter and arranger, as well as a great producer and engineer. This album features five of his originals (along with seven standards) and was completely produced and engineered by Cortez. It’s amazing that one person can wear so many hats and wear them all so well. ~from the artist's site

Mum Is The Word

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Nina Simone - The Amazing Nina Simone

Bitrate: MP3@320K/s
Time: 39:01
Size: 89.3 MB
Styles: Standards, Vocal jazz
Year: 1959/2007
Art: Front

[3:19] 1. Blue Prelude
[7:45] 2. Children Go Where I Send You
[2:59] 3. Tomorrow (We Will Meet Once More)
[2:08] 4. Stompin' At The Savoy
[3:53] 5. It Might As Well Be Spring
[2:10] 6. You've Been Gone Too Long
[2:29] 7. That's Him Over There
[2:41] 8. Chilly Winds Don't Blow
[2:28] 9. Theme From Middle Of The Night
[2:31] 10. Can't Get Out Of This Mood
[3:11] 11. Willow Weep For Me
[3:22] 12. Solitaire

There is a remarkable amount of variety on this disc, Nina Simone's second recording. Her repertoire ranges from a swinging "Stompin' at the Savoy" and an emotional "It Might as Well Be Spring" to an English folk ballad ("Tomorrow"), spirituals, an R&B song ("You've Been Gone Too Long") and the theme song from the movie Middle of the Night. Somehow Simone brings credibility to each of these very different songs. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented. ~Scott Yanow

The Amazing Nina Simone

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