Branford Marsalis - Trio Jeepy

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 74:06
Size: 170,0 MB
Art: Front

( 9:28)  1. Housed from Edward
(10:33)  2. The Nearness of You
( 5:15)  3. Three Little Words
( 0:47)  4. Makin' Whoopee
( 7:13)  5. UMMG
( 6:29)  6. Gutbucket Steepy
( 8:00)  7. Doxy
( 9:07)  8. Makin' Whoopee (Reprise)
( 9:12)  9. Peace
( 7:57) 10. Random Abstract (Tain's Rampage)

Branford Marsalis clearly had a lot of fun during this set. On seven of the ten numbers included on the double LP (the CD reissue actually has one less selection), Marsalis romps on tenor and soprano in a trio with veteran bassist Milt Hinton and drummer Jeff "Tain" Watts; the remaining three numbers have Delbert Felix in Hinton's place. The performances are quite spontaneous (the occasional mistakes were purposely left in) and Marsalis really romps on such tunes as "Three Little Words," "Makin' Whoopee," and "Doxy." On the joyful outing that is also one of Branford Marsalis' most accessible recordings, Milt Hinton often steals the show. ~ Scott Yanow  http://www.allmusic.com/album/trio-jeepy-mw0000200678

Personnel: Branford Marsalis (soprano & tenor saxophones); Milt Hinton, Delbert Felix (acoustic bass); Jeff "Tain" Watts (drums).

Trio Jeepy

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Tad Shull - In The Land Of The Tenor

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 59:58
Size: 138,4 MB
Art: Front

(7:38)  1. Here's The Kicker
(5:14)  2. Night Horse
(8:02)  3. I Keep Going Back To Joe's
(7:39)  4. A Portrait Of Bojangles
(6:06)  5. This Is New
(7:11)  6. Pick Yourself Up
(6:55)  7. Nobody Else But Me
(5:55)  8. Angel Face
(5:15)  9. Prey-Loot

Tad Shull grew up in Westport on; during his school days at the Westport Public School, he started with the saxophone and entered the age of 13 in a swing band, also with 15 years in blues and rock and roll bands. In Westport, he studied jazz piano and improvisation at 1970/71 John Mehegan , with 16 years of saxophone and jazz improvisation with David Liebman (1971-73), with 18 years improvisation with Richard Beirach (1973-4). He attended the New England Conservatory , where he met with Gunther Schuller and Jaki Byard worked. Shull 1978 went to New York and worked in swing clubs in Midtown, as the Jimmy Ryan's and Eddie Condon's. Shull learned while musicians such as Roy Eldridge , Jimmy Rowles , Eddie Locke and Bobby Pratt know that as swing and mainstream jazz veterans were still active. 1981/82 Shull played in the Smithsonian Jazz Repertory Ensemble of Bob Wilber , from which he also received clarinet lessons. Shortly thereafter, he joined the Widespread Depression Jazz Orchestra, with whom he went in the late 1980s on numerous tours. Until 1997, Shull worked with the formation. 

1990 Shull began to play with their own formations; Here, among other things worked the pianist Mike LeDonne and Ray Gallon , bassist Dennis Irwin and drummer Kenny Washington with. He also played with Dizzy Gillespie , Milt Jackson , Joe Williams , Cab Calloway and Woody Herman . In 2002, he participated in various events tribute in honor of Billy Strayhorn in Lincoln Center and played less well-known pieces by the composer. In addition, Shull underwent a study of political science at Columbia University ; Since then he has published about politics, music and culture. Furthermore, he has worked as a marketing consultant and also in the Center for Jazz Studies at Columbia University.  Shull's game on the tenor saxophone combined influences of Coleman Hawkins , Don Byas , Lucky Thompson , Eddie Lockjaw Davis , Johnny Griffin and Sonny Rollins. ~ Bio  http://translate.google.com.br/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Tad_Shull&prev=search

Personnel: Tad Shull (tenor saxophone); Kenny Washington (drums); Mike LeDonne (piano); Dennis Irvin (bass).

In The Land Of The Tenor

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David McAlmont and Michael Nyman - The Glare

Styles: Vocal, Avant-Garde
Year: 2009
File: MP3@320K/s
Time: 52:59
Size: 161,2 MB
Art: Front

( 3:13)  1. Take the Money and Run
( 3:32)  2. Secrets, Accusations and Charges
( 3:00)  3. City of Turin
( 2:28)  4. Friendly Fire
( 2:38)  5. In Rai Don Giovanni
( 6:29)  6. In Laos
( 3:05)  7. Going to America
( 3:00)  8. Fever, sticks and bones
( 2:41)  9. A Great Day In Kathmandu
( 2:42) 10. Underneath the Hessian Bags
( 2:41) 11. The Glare
(17:24) 12. Songs for Tony

For the benefit of non-Britons, David McAlmont is a vocal sensation hailing from the U.K., noted for his work with the two-man groups Thieves, McAlmont & Butler, and as a solo artist. McAlmont's collaborations were not very long lived enterprises, partly as McAlmont is tough on collaborators, and though he is known to have mended fences with those he has broken with, it's usually long after the fact. Classical composer Michael Nyman is noted for his calm demeanor and patience; while he might seem an unlikely match for the flamboyant McAlmont, here they are together on MN's The Glare. The title work is a song cycle based on McAlmont's own poems, which are further based on news events that happened in the year 2008, though it is not always clear from the lyrics alone what McAlmont is singing about. Nyman occasionally dips into textures he has used before, such as in "In Re Don Giovanni," to find the right setting for McAlmont's words, but it is clear this is the object of dipping back into his bag, and not because Nyman is being particularly lax about the project. 

It is hard to avoid suggesting the overall effect of The Glare is rather similar to Burt Bacharach's 2004 collaboration with soul-specialist Ron Isley, though that was a very good show. So, essentially, is this, with the major differences being that the songs are original to the project and that Nyman's style is considerably tarter and employs far more economy of means than Bacharach's complex polyrhythms and tendency toward thick chords. As McAlmont's singing is so stylized, however, it would have been very useful to have on hand the lyrics, or at least a summary of their content, as it would let the listener in on what the meaning of these songs are. There is no need for the usual pop mystique in regard to the words, and clarity of purpose should have been the main consideration in the presentation of The Glare. From Nyman's end, he has adapted to McAlmont's delivery and sense of style with the same facility as in his work with German cabaret artist Ute Lemper.

Songs for Tony (1993) is scored for sax quartet and has been recorded before; here it is heard from Nyman's own sax section. The four movements of the piece are presented as one long, 17-minute track; the lack of access points for the individual movements is a bit of a disadvantage. With its liberal use of slap-tongue on the baritone and high register writing in the soprano, the first movement, titled "Aggressive" in some sources, amusingly almost sounds like "what if the Six Brown Brothers played minimalism?" The rest of the piece, however, is restrained and reflective, and suits well the music it is paired with. Apart from the minor quibbles already mentioned, overall McAlmont and Nyman's MN release represents a seamless marriage of popular idioms with classical form and results in an eminently satisfying listening experience. ~ Uncle Dave Lewis  http://www.allmusic.com/album/the-glare-mw0001872990

The Glare

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Benny Goodman - The Complete Trios

Bitrate: MP3@320K/s

Time: 58:15

Size: 133.4 MB

Styles: Big band, Swing

Year: 1999

Art: Front

[2:56] 1. Blue

[3:04] 2. After Hours

[2:19] 3. All I Do Is Dream Of You

[3:13] 4. I'll Never Be The Same

[2:26] 5. Bye Bye Pretty Baby

[2:47] 6. Shoe Shine Boy

[2:24] 7. At Sundown

[2:33] 8. When You're Smiling

[2:37] 9. Alll I Do Is Dream Of You

[2:48] 10. Stompin' At The Savoy

[2:56] 11. Mean To Me

[3:00] 12. Puttin' On The Ritz

[3:05] 13. I Never Knew I Could Love Anybody (Like I'm Loving You)

[2:58] 14. Lazy River

[3:07] 15. There'll Be Some Changes Made

[3:50] 16. Everything I've Got Belongs To You

[2:22] 17. But Not For Me

[2:39] 18. Margie

[3:53] 19. Rose Room

[3:07] 20. (What Can I Say) After I Say I'm Sorry

The Complete Captiol Trios is a long-overdue reissue of the five trio sessions Benny Goodman led for Capitol Records. The five sessions are easily broken down into two categories recordings from 1947 and recordings from 1954. The highlights of the 1947 recordings are sessions with pianist Teddy Wilson and drummer Jimmy Crawford. This provided Goodman an opportunity to reunite with Wilson who he had toured with in the late '30s in a trio with drummer Gene Krupa. Goodman and Wilson have a real ease to their interaction and the results are positively joyful. There are three other recordings from 1947, featuring pianist Jimmy Rowles and drummer Tom Romersa; these are good, but not quite as delightful as their 1947 companions. However, the 1954 recordings all featuring pianist Mel Powell, four featuring drummer Eddie Grady, and two featuring drummer Bobby Donaldson are equally wonderful, filled with good humor, elegant flair, and magical interludes. These sessions have been out of circulation for too long, but The Complete Capitol Trios is so well-done  and its fidelity is so good that the wait was certainly worthwhile. ~Stephen Thomas Erlewine

The Complete Trios 

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Etta James - Jazz

Bitrate: MP3@320K/s

Time: 37:55

Size: 86.8 MB

Styles: Jazz-blues vocals

Year: 2007

Art: Front

[3:06] 1. Stormy Weather

[2:55] 2. Fool That I Am

[2:24] 3. Don't Get Around Much Anymore

[2:23] 4. Dream

[3:25] 5. One For My Baby (And One More For The Road)

[3:34] 6. Don't Take Your Love From Me

[2:21] 7. Don't Blame Me

[3:57] 8. These Foolish Things (Remind Me Of You)

[2:12] 9. Prisoner Of Love

[3:52] 10. Lover Man

[3:11] 11. Misty

[4:29] 12. I Got It Bad (And That Ain't Good)

This CD presents the dynamics of Etta James capabilities as a songstress. She was much more than "Tell Mama". I'm certain everyone is famillar with "At Last". This CD goes beyond that and takes you into her abilities to perform the classic jazz standards with her soulful signature voice. This is a collector's must have. ~Glen

Jazz

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The Jazz Ambassadors - Boogie Woogie Bugle Boy

Styles: Jazz, Swing
Year: 2008
File: MP3@320K/s
Time: 45:01
Size: 103,8 MB
Art: Front

(3:40)  1. One O'Clock Jump
(3:18)  2. Don't Get Around Much Any More
(3:09)  3. Don't Be That Way
(4:18)  4. I'll Be Seeing You
(3:55)  5. Johnson Rag
(4:10)  6. Ladies of the Big Bands
(2:50)  7. Bugle Call Rag
(8:39)  8. Tribute to Glenn Miller
(3:09)  9. Song of India
(7:49) 10. Songs of World War II

Boogie Woogie Bugle Boy album for sale by Jazz Ambassadors was released Feb 25, 2008 on the Panda Digital label. Full performer name: The Jazz Ambassadors The United States Army Field Band. 

Boogie Woogie Bugle Boy CD music contains a single disc with 10 songs.  http://www.cduniverse.com/search/xx/music/pid/5654379/a/boogie+woogie+bugle+boy.htm

The Jazz Ambassadors includes: Dana Rogers (vocals); Loran McClung (alto saxophone, clarinet); Vince Norman, Pat Dillon (saxophone); Kevin Watt, Greg Reese (trumpet); Lew Chapman, Jim McFalls (trombone); Fred Hughes (piano); Tom Williams (bass).

Boogie Woogie Bugle Boy

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Dara Tucker - Soul Said Yes

Styles: Vocal, Jazz Soul
Year: 2011
File: MP3@320K/s
Time: 54:50
Size: 125,7 MB
Art: Front

(3:38)  1. All That You Have Is Your Soul
(4:05)  2. Save Their Souls - Soul Said Yes
(4:07)  3. Tangerine
(4:59)  4. Easy To Love
(3:37)  5. Partly Cloudy
(4:06)  6. The Space
(5:31)  7. Body and Soul
(4:48)  8. Stronger Than Pride
(5:53)  9. Poinciana
(3:41) 10. Pure Imagination
(3:57) 11. (Our) Love Is Here To Stay
(5:00) 12. I Will Move On Up A Little Higher
(1:23) 13. Soul Says Yes

Jazz vocalist and songwriter Dara Tucker's third studio project, ‘The Sun Season’ is a celebration of life, energy and the human experiencer. Tucker's new project differs from her previous releases, ‘Soul Said Yes’ (2011) and ‘All Right Now’ (2009), in that ten of the twelve tracks that comprise ‘The Sun Season' (2014) are original tunes with memorable melodies, rich harmonies and strong rhythms. These sensibilities are immediately felt on such tunes as "Sometimes Love," "Beautiful Sun," "The Sun Suite" and "See It Always." Her gift of balladry, as evidenced on "Naïve", and "The Nearness of You," one of the albums two covers, reveal a mature singer with the wisdom to communicate the tender essence of love with a flair that is distinct and enveloping. “When I fall in love with a song, I fall in love with the melody first; then the lyrics," Tucker said. "If I can communicate the essence of that melody to the listener without relying on attention-grabbing melisma, and instead, focus on creating subtle yet effective embellishments that will draw the listener in, then I feel I’ve done my job.” Recorded over two days at David Stoller's Samurai Hotel Studios in Queens, New York, the project features pianist Helen Sung, drummer Donald Edwards, guitarist Peter Bernstein, bassist/producer Greg Bryant and horn men John Ellis and Alan Ferber. The resultant material is a joyful presentation with memorable contributions from the entire cast.

"The singer-songwriters of the 60’s, 70’s and 80’s were hugely influential on me, as were gospel and the Great American Songbook. What I end up producing as a writer is essentially an amalgam of all these genres. Couple those influences with one of the baddest New York jazz ensembles around, and you have the ingredients that came together to make up “The Sun Season”. During her brief career, Dara Tucker has already managed to catch the ear of some of the most significant figures in jazz such as vocalist Cassandra Wilson, organist Dr. Lonnie Smith and saxophonist Benny Golson. Within the last two years, Tucker has won audiences on such stages as The Blue Note (NYC), Smoke Jazz Club (NYC), Snug Harbor (New Orleans, LA), The San Jose Jazz Festival, Sculler’s in Boston, MA, Nighttown in Cleveland, OH and the Oklahoma Jazz Hall of Fame. Peeling away the layers of her diverse background sheds ample light on her unorthodox path to becoming a significant contemporary voice on the vocal jazz scene.

“I grew up singing gospel in church with my brothers and sisters. There were 7 of us, so my father (an accomplished music minister) and my mother (also a singer) had a built in choir. We traveled a lot, and we would back our parents up everywhere we went. I learned tons about harmony before I was even in the first grade. That provided me with amazing ear-training very early on. My father, a minister, didn’t allow secular music in the house. But eventually, when I began to come of age, I started to explore the sounds of big band music and the Great American Songbook. I spent many nights with my radio tucked under my pillow, surreptitiously soaking in artists like The Manhattan Transfer, The Hi-Lo’s, Rosemary Clooney, Ella Fitzgerald and Sarah Vaughn."

Tucker says writing the songs that make up “The Sun Season” was an organic process  mostly. After writing furiously for more than 7 years, she knew it was time to make her own statement. "The question in my manager’s mind was always, 'Where will your songs fit? You’re one of those in-between writers.' This was something I understood all too well. "I'm excited to share this project with everyone, and I look forward to performing the material in concert. It's my statement on what jazz is to me in the here and now. I am thankful to have been given the opportunity to shine a light on the particular Space that I choose to occupy in my singular Sun Season. ~ Bio  http://www.daratucker.com/

Soul Said Yes

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The Jeff Steinberg Jazz Ensemble - Jazz Blends: A Robust Blend of Instrumental Jazz With Your Coffee

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 46:33
Size: 107,0 MB
Art: Front

(3:05)  1. How About You
(3:50)  2. That Old Black Magic
(4:15)  3. Black Coffee
(3:16)  4. Old Devil Moon
(3:40)  5. But Not for Me
(4:17)  6. Taste Of Honey
(4:07)  7. You're the Cream In My Coffee
(4:30)  8. I'll Never Fall in Love Again
(3:56)  9. Coffee Song
(3:41) 10. You Stepped Out Of A Dream
(4:02) 11. Stars Fell on Alabama
(3:48) 12. Teach Me Tonight

After more than thirty-five years as a composer, arranger/orchestrator, pianist, producer and music educator, Jeff Steinberg's work continues to span the professional spectrum which includes spectacular Jazz, Big Band, and Orchestral recordings as well as original scores for advertising, television, and film.Upon graduating from the Berklee School in 1969, he joined The Glenn Miller Orchestra under the direction of Buddy DeFranco and toured the United States, Canada, Great Britain and Japan. Since then, he has worked with such luminaries as Maynard Ferguson, Count Basie, Stan Kenton, Perry Como, and Michel Legrand, and produced and arranged music for the advertising campaigns of General Motors, McDonald s, ALCOA, The Monsanto Company, TimeLife and others. He has arranged, conducted, and performed with and for The London Symphony, Scottish National Orchestra, London Philharmonic Orchestra, the orchestras of Nashville, Detroit and Tampa, as well as Randy Newman, Anne Murray, Art Garfunkel, Roberta Flack, Michael Feinstein, Olivia Newton-John, and Paul Anka. Steinberg currently serves as a frequent POPS Conductor for The Nashville Symphony and other orchestras. As producer/arranger of exciting up and coming artists, Jeff also front The Jeff Steinberg Jazz Ensemble on piano. ~ Editorial Reviews  http://www.amazon.com/Jazz-Blends-Robust-Instrumental-Coffee/dp/B00DPKQB0U

Personnel:  Jeff Steinberg – piano; Denis Solee - tenor sax, baritone sax & flute; George Tidwell - trumpet & flugelhorn; Jack Jezzro – guitar; Jay Patten - alto sax; Jim Ferguson – bass; Jim White - drums

Jazz Blends

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Elaine Lucia - Let's Live Again

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 44:55
Size: 103,1 MB
Art: Front

(3:26)  1. Azure Te
(3:28)  2. The Wildest Gal In Town
(3:30)  3. All Dressed Up (With A Broken Heart)
(3:41)  4. In The Night
(3:42)  5. Perhaps, Perhaps, Perhaps
(4:29)  6. Blue Prelude
(3:27)  7. I'd Love To Make Love To You
(2:55)  8. Daddy
(4:31)  9. Don't Go
(3:46) 10. I'll Never Fall In Love Again
(3:40) 11. Let's Live Again
(4:14) 12. Sayulita

Elaine Lucia has a beautiful, high and clear voice that is versatile, quite powerful and perfectly fits her swinging style. “My goal has always been to be as great a singer as I can and really master my instrument, to soak songs with emotion while singing in a simple and straightforward style. I don’t want to sound like anyone but myself.” One listen to any of Elaine’s three CDs shows that she has already accomplished that goal and is a memorable jazz singer. She was raised in upstate New York, and was very impressed at the age of four when she saw Judy Garland and Barbara Streisand singing “Happy Days Are Here Again” on Garland’s television show. “I remember thinking: ‘I want to do that!’” When she was 12, Elaine discovered Ella Fitzgerald and that was soon followed by Peggy Lee and Lorez Alexandria. “I like singers who are powerful, musically emotive, with clean, clear tones. I was as amazed by the quality of Ella’s voice as I was of her virtuosity.” Elaine performed her first solos in seventh grade with her school choir, started singing with her choir teacher’s jazz trio on weekends when she was 13, and taught herself guitar. “I simply wanted to be “a great singer”, so I begged my father for voice lessons and started studying opera when I was 15. The training helps me to this day, allowing me the vocal stamina to sing seven nights a week, if I had to, without tiring or harming my vocal instrument. The classical training also helped me win auditions and carried me through the many musical theater productions, rehearsals and shows I was in during my teen years.”

Elaine won a summer scholarship to attend the Chautauqua Institute for the Arts and, after graduating early from high school, received a theater scholarship to the State University of New York at Binghamton (now Binghamton University). She soon switched her focus from theater back to music. Two years later, Elaine transferred to the Eastman School of Music on a vocal scholarship but, when the Reagan administration drastically cut back on college grants, she was unable to attend her fourth year of college. “I decided to take a year off from school and go to northern California. Within a month I was singing in a rock band and recording background vocals with a country group, and I never did get the money to go back to the conservatory.” Since that time, Elaine Lucia has sung in a countless number of situations, performing all kinds of music. “I would sing anything, anytime, anywhere with anyone. I had no fear! I would beg to sit in at the Jazz Workshop in San Francisco, and the veteran musicians there were so generous; they taught me a lot about jazz performance. I learned early to only sing with the very best musicians, and that has been a very educational and joyful experience. It gave me the confidence to put together my own jazz combo, and musical shows, like my Peggy Lee tribute (2002) and our “Classical Jazz to Jazz Classics” repertoire. Ultimately, the great players I have with me now have given me the freedom to experiment with a pretty eclectic song list.”

In 2001, she recorded her debut jazz CD, \"Elaine Lucia...Sings Jazz and Other Things.\" “I felt that I had arrived at an important musical place, so I simply recorded songs that I loved. On my second CD, \"A Sonny Day,\" I followed a specific musical theme, and dedicated the project to my late father, Frank “Sonny” Lucia. The CD musically depicts a day of the life of my father, starting with ‘I Love the Sunrise’ and ending with ‘Final Remembrance.’ It is a very personal project.” Elaine Lucia’s newest CD, \"Let’s Live Again,\" is a tribute to the vocal LPs that the George Shearing Quintet of the late 1950s/early ‘60s recorded with such singers as Nat King Cole, Peggy Lee, Dakota Staton and Nancy Wilson. “On \"A Sunny Day,\" I had the same instrumentation as the George Shearing Quintet that beautiful combination of vibes and guitar with the piano, bass and drums. So we just carried that same quintet into the new project.”

“My trio with pianist Jonathan Alford, bassist Pierre Archain and drummer Alan Hall has been playing and recording with me for over 12 years now. We added Gerry Grosz on vibes when we did \"A Sonny Day; Gerry really fits in very well with the band and wrote almost all of the arrangements on this new CD. And then I asked Randy Vincent to bring his wonderful, classic guitar sound into the mix. The quintet was the perfect setting for me to record some rare songs like the title track ‘Let’s Live Again’ by Nancy Wilson, ‘Don’t Go’ and ‘Azure-Te’ by Nat King Cole, and ‘In The Night’ and ‘I’d Love to Make Love To You’ by Dakota Staton.” Elaine Lucia has appeared at nightclubs and festivals in the San Francisco Bay Area, Los Angeles, San Diego, Reno and Lake Tahoe areas for many years, gathering a solid following among fans and musicians alike. “I gig several times a month, doing a lot of private parties and shows in addition to one or two nightclub dates. I look forward to performing in larger venues and traveling more. I really just want to sing as much as possible!” Her growing number of fans look forward to hearing the very appealing Elaine Lucia singing many more times in the future, adding to her already impressive musical legacy.  http://www.cdbaby.com/cd/elainelucia2

Let's Live Again

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Jacqui Sutton - Billie & Dolly / Notes From The Frontier

Album: Billie & Dolly: Songs Inspired by Billie Holiday & Dolly Parton
Size: 136,3 MB
Time: 58:29
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals
Art: Front

01. God Bless The Child (5:51)
02. Black Hole (5:56)
03. Lazy Afternoon (4:02)
04. Keeper Of Your Love Sweep Me Off My Feet (6:03)
05. Those Memories Of You (4:48)
06. My Man's Gone Now (5:19)
07. Risk (6:54)
08. The Moon Is Made Of Gold (5:31)
09. Mississippi Song (4:43)
10. A Sleepin' Bee (5:14)
11. Endless Stream Of Tears (4:01)

Heaven knows that contemporary jazz vocals could use a shot of sense-of-humor. The scene hosts a legion of earnest singers paying tribute to their idols, firebrands intent on extending the already stretched-taut realms of scat and vocalese, and soccer moms and dads fulfilling a vanity ambition—all so serious. Sense of humor is in order, but not just any sense of humor will do; it has to be a smart sense of humor, not cheeky or rude, only clever and coy, wafting sophistication and panache.

Appearing just in time is one Jacqui Sutton, late of Houston, Texas by way of Orlando, Rochester, San Francisco, Portland and New York, claiming that ..."Turning 50 and starting a garage band is not the usual vocalist's narrative. But that's what happened with me. It's not just any band, but an orchestra: what I call the Frontier Jazz Orchestra: a stylistic mash-up of jazz, bluegrass and orchestral/chamber music." That is a very promising beginning.

Sutton extends this genre mash-up into the core of her release Billie & Dolly, a tribute to singers Billie Holiday and Dolly Parton. Now, what was that about "earnest singers paying tribute to their idols?" Never mind and just go with it, the two singers make such strange musical bedfellows that their pairing has to meet the fun and smart definition. And in a creative way, what Sutton is trying to do makes perfect sense. She is trying to capture what she terms "frontier jazz"—music as it spreads West, incorporating Mississippi and Aaron Copland, Texas and Virgil Thompson, Louisiana and William Grant Still.

Sutton employs a middle-sized band, an octet, as her Frontier Orchestra, nominally lead by multi-instrumentalist/arranger Henry Darragh, who also provides piano and trombone support in addition to his arranging duties. Darragh made his own splash with his uniformly fine Tell Her For Me (Self Produced, 2010). The presence of cellist Max Dyer, guitarist/six-string banjo player Paul Douglas Chester and flautist Aralee Dorough lend the orchestra its frontier flavor. Sutton favors copious amounts of Chester's banjo, which he plays and solos like a guitar. The effect is digital sepia, old fashioned with a modern edge, which sharpens with Darragh playing the Fender Rhodes (hear the effervescent "Risk").

The most overt homages paid to the two singers are Sutton's Tombstone setting of "God Bless the Child" (sporting a Darragh-composed brass chorale) and a definitive reading of Parton's "Endless Stream of Tears" accented by some virtuoso banjo, fiddle and accordion playing. Sutton tends to all corners of her 40 acres of music. "Keeper of Your Love/Sweep Me Off My Feet" could have been an out take from the musical Oklahoma! (1943) and shows off Sutton's stage experience supported by duet partner Lyndon Hughes.

"The Moon is Made of Gold" (composed by Rickie Lee Jones' father, Richard Loris Jones) is one of the several disc high points, featuring bassist Anthony Sapp and trumpeter Dennis Dotson. Sapp's solo introduction is solid and commanding; Dodson's sounds like Louis Armstrong sparring with Darragh's Jack Teagarden trombone, explosive and inventive, except with softened edges, like Armstrong and Teagarden shared just enough cough syrup before playing. Chester fully quotes "The Sunny Side of the Street" in his banjo solo, before Sutton finishes off the torch with command.

Sutton and her orchestra come from all directions at once. "The Mississippi Song" provides more Broadway by way of El Paso. "My Man's Gone Now" is the Gershwins in the warm Gulf climes. "Those Memories of You" is Bill Monroe by way of Clifton Chenier. Sutton's "Frontier" sound achieves its full maturity in Parton's "Endless Stream of Tears." This is music that has no genre, belonging to all. It is uniquely American and could not have been created anywhere else.

The music on Billie & Dolly arrives fully formed and realized, sounding like the destination Cassandra Wilson has been evolving toward for the past 20 years: a bona fide, organic, earthy, fecund sound tempered with grace and good taste. Sutton's confidence and certainty are almost palpable in every selection from this beautiful and unusual recital. Had Bessie Smith met Bob Wills and recorded with him and the Texas Playboys one dusty late Texas autumn day, the results might have sounded a lot like Jacqui Sutton and her Frontier Orchestra. ~by C. Michael Bailey

Personnel: Jacqui Sutton: vocals; Paul Chester: six-string banjo, guitars; Henry Darragh: piano, trombone; Dennis Dotson: trumpet, flugelhorn; Randy Dunn: theremin; Max Dyer: cello; Ilya Janos: cajon, timbal, agogo, percussion; Anthony Sapp: basses; Aralee Dorough: flute; Lyndon Hughes: vocals; Alan Huff: accordion.

Billie & Dolly

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Album: Notes From The Frontier: A Musical Journey
Size: 145,2 MB
Time: 62:27
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals
Art: Front

01. Summertime (7:02)
02. Lady Of The Harbor (6:02)
03. Hummingbird/Blue Rondo A La Turk (4:08)
04. Jenny Rebecca (4:04)
05. Freed (5:44)
06. One And Only (5:50)
07. Nature Boy (5:04)
08. Dear Friend (5:09)
09. Where The Music Comes From (3:12)
10. Weary Angel (6:19)
11. Blue Mountain (5:21)
12. Better Than Anything (4:26)

In America's infancy, exploration and a thirst for discovery were endemic to the human spirit. Over time, no stone went unturned, the world shrunk and people, by and large, became content with what they already knew. Something as simple as a new television program or electronic gadget now quenches the thirst-for-the-unknown that was once unquenchable in the mind of mankind, but true musical spirits aren't satisfied in this manner; they never stop searching. These musical pioneers explore the cracks and crevices between styles to find something new and meaningful to say, and vocalist Jacqui Sutton belongs to this breed.

Sutton finds the old in the new, the new in the old, and the joy in blurring lines that some refuse to blur. Her debut—Billie & Dolly (Toy Blue Typewriter, 2010)—honed in on two different figures from opposite sides of the fence, honoring Dolly Parton and Billie Holiday in unique fashion. Now, with Notes From The Frontier, she's broadening her gaze and taking a panoramic look at America.

Her aptly named style—Frontier Jazz—is synthesized through the marriage of bluegrass, musical theater, classical influences, jazz and more, but isn't purely based in any one of those categories; if record stores still existed, they'd have a hell of a time trying to file this one. A rootsy take on Gershwin's "Summertime" isn't Broadway, Appalachia, soul or jazz, but a combination of all four, while "Nature Boy" is Carnegie Hall classicism, Nat "King" Cole and Argentinean tango rolled into one. "Lady Of The Harbor" cuts to the core of the American spirit, with Emma Lazarus' famed "New Colossus" lines floating above a heavenly mixture of Irish flute, keyboard, melodion, trombone, cello, bass, percussion, banjo and guitar. An odd patriotic stirring comes to the surface on "Where The Music Comes From," which is underscored by fife and drum classicism with a modern twist. All of this music speaks to Sutton's sophisticated tastes and all-seeing eye, but she ultimately sounds best when working in neo-soul-meets-folk mode ("Summertime" and "Weary Angel") or gentle, countrified environs ("Blue Mountain"). Her true spirit roams free on this material and connects to the heart and mind in myriad ways.

Notes From The Frontier is melting pot music with a heavy emphasis on the heartland, as seen through modernistic eyes. This is music taken from the branches that sprouted from the tree trunk that grew from the roots of the American people. ~by Dan Bilawsky

Personnel: Jacqui Sutton: vocals; Paul Chester: guitar, banjo; Anthony Sapp: bass; Ilya Janos: percussion; Eddie Lewis: trumpet, flugelhorn, piccolo trumpet; Henry Darragh: keyboards, trombone, melodion; Lyndon Hughes: drums, vocals; Cindy Scott: vocals; Aralee Dorough: flute; Bob Chadwick: Irish flute; Max Dyer: cello.

Notes From The Frontier

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Ruby Braff Quartet - Ruby Braff Swings

Size: 52,0 MB
Time: 22:13
File: MP3 @ 320K/s
Released: 1954/2015
Styles: Jazz: Trumpet Jazz
Art: Front

01. Struttin' With Some Barbecue (2:42)
02. Mean To Me (2:59)
03. Ellie (2:25)
04. You're A Sweetheart (2:55)
05. Blue And Sentimental (2:36)
06. The Girl Friend/The Blue Room (2:46)
07. I Can't Get Started (3:11)
08. Falling In Love With Love/This Can't Be Love (2:35)

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds.

Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003. ~by Scott Yanow

Ruby Braff Swings

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Anthony Strong - On A Clear Day

Size: 112,6 MB
Time: 48:11
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. On A Clear Day (3:51)
02. Whatever Lola Wants (3:09)
03. As Time Goes By (3:30)
04. Nothing Like You (3:02)
05. Unforgettable (4:28)
06. The More I See You (2:23)
07. Higher Ground (4:07)
08. Baby Plays Around (2:51)
09. That Kind Of Guy (3:36)
10. When It Moves You (3:39)
11. Don't Stop Til You Get Enough (3:39)
12. Use Me (3:34)
13. What Is This Thing Called Love (3:03)
14. The Outgoing Administration (3:12)

Anthony Strong is a hidden British treasure, who, despite achieving success abroad, seems to have slipped the net of the UK media.

Known overseas as ‘The English Gentleman’, Anthony, who has been likened to a a young Harry Connick Jnr, has a worldwide fan base, and has played big venue tours across 26 countries and 4 continents. His swaggering vocals and piano style have seen him him sell out 3-5 thousand capacity venues worldwide, with his last record topping the iTunes Jazz Charts in both the USA and Germany.

Anthony studied Classical Music and Jazz at three of England’s most prestigious music schools, but it was a nine month spell as understudy to Jerry Lee Lewis in a London West End musical that shaped his career. It was here he developed his stagecraft and audience engagement, so characteristic of his feel good live shows.

Anthony will soon be releasing an exciting new album, ‘On A Clear Day,’ which is due for release on 18th May. Having taken two years to perfect, ‘On A Clear Day’ is unashamedly ‘Old School’, as Anthony takes you on a personal journey through his own record collection, from classics and jazz to early Stevie Wonder and Motown.

By arranging, composing, band leading, orchestration, and producing the album himself, Anthony hopes to capture the fresh and positive energy of his live shows.

On A Clear Day

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Kevin MacKenzie & Loren Stillman - Revenge Of The Hammer Ladies

Size: 115,7 MB
Time: 49:49
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Post Bop
Art: Front

01. Revenge Of The Hammer Ladies (5:39)
02. Big Cat (5:40)
03. Fearless Dreamer (5:49)
04. Butterfly (7:45)
05. Her Love Was Like Kryptonite (6:29)
06. Gone (5:53)
07. The Brothers Breakfast (7:30)
08. The Nuckins (5:01)

A collaboration between Kevin MacKenzie and Loren Stillman recorded at castle sound studios Edinburgh during the 2012 Edinburgh Jazz Festival. Featuring Loren Stillman: Alto Sax, Kevin MacKenzie: guitar , Dave Ambrosio: Bass Martin France: Drums

Kevin MacKenzie:
Kevin Mackenzie lives in Scotland. He has toured extensively and has recorded on many albums in a variety of styles.
His groups have been featured along side guitarist Robben Fords power trio, Bob Berg and Mike Stern, the Crusaders and Seminal Jazz figure Ornette Coleman.

In 2001 Kevin received the prestigious ‘Creative Scotland Award’, which he used to write and record music for his nine-piece band ‘Kevin Mackenzie’s Vital Signs’. The CD gathered great reviews including album of the month in The Observer and CD of the week in The Guardian.

Loren Stillman:
The music of Brooklyn-based saxophonist and composer, Loren Stillman, has found acclaimed reviews in such publications as The New York Times, Downbeat Magazine, Jazziz, Jazz Times, and National Public Radio, marking him as an innovative voice of modern jazz.

With his training stemming from Lee Konitz and David Liebman to Harvey Pittel, Stillman has performed, recorded, and educated throughout the United States, Europe, and Japan.

Alongside an impressive record of performances, recordings, and master-classes with his own ensembles, Stillman has performed alongside Charlie Haden, Paul Motian Trio 2000+2, Carla Bley, John Abercrombie, Greg Osby, Ralph Alessi, Andy Milne’s DAPP Theory, Michele Rosewoman Quintessence, Eivind Opsvik, John McNeil, Brad Shepik, Russ Lossing, Vic Juris, and The Vanguard Jazz Orchestra.

An early start to his musical career found Stillman as recipient of two Outstanding Performance Awards (1996 &1998) and the Rising Star Jazz Artist Award (2004) from Down Beat Magazine. Stillman attended Manhattan School of Music (1998) and The New School (2002) on full music scholarship, and was a semifinalist in the 2002 Thelonious Monk Saxophone Competition. In 2005, Stillman received the CMA/ASCAP Award for Adventurous Programming and the ASCAP Young Jazz Composers Award.

Stillman’s original recordings, Winter Fruits (Pirouet 2008) It Could Be Anything (Fresh Sound, 2005), The Brothers’ Breakfast (Steeplechase, 2006), and Blind Date (Pirouet, 2006), received critical acclaim from The New York Times and four star recognition in BBC Jazz Review, Jazz Man Magazine and Downbeat Magazine. Stillman has been featured on WKCR, Weekend America Public Broadcasting, and LIU Radio programming.

Revenge Of The Hammer Ladies

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Urbie Green - Septet & Octet

Bitrate: MP3@320K/s
Time: 78:06
Size: 178.8 MB
Styles: Trombone jazz, Contemporary jazz
Year: 2011
Art: Front

[4:41] 1. Incubator
[3:20] 2. Skylark
[3:25] 3. La Salle
[3:16] 4. Dansero
[2:59] 5. Stairway To The Stars
[5:06] 6. Johnbo Mambo
[6:27] 7. Lullaby Of Birdland
[5:55] 8. Med's Tune
[5:49] 9. Old Time Modern
[5:57] 10. I Got It Bad (And That Ain't Good)
[3:54] 11. Sassafras
[3:30] 12. On Green Dolphin Street
[2:45] 13. How About You
[3:07] 14. Mutation
[2:16] 15. Undulation (Melody In Bb)
[3:59] 16. Three Little Words
[3:51] 17. Sneaky Pete
[3:23] 18. When Your Lover Has Gone
[4:17] 19. Just One Of Those Things

Lineups: # 1-6: Doug Mettome, trumpet and baritone horn; Urbie Green, trombone; John Murtaugh, tenor sax; Sam Staff, baritone sax; Jimmy Lyon, piano; Dante Martucci, bass; Jimmy Campbell, drums. Hackensack, N.J. December 27, 1953. #7-10: Ruby Braff, trumpet; Urbie Green, trombone; Med Flory, alto sax; Frank Wess, flute & tenor sax; Sir Charles Thompson, piano; Freddie Greene, guitar; Aaron Bell, bass; Bobby Donaldson, drums. New York City, August 17, 1954. #11-13: Doug Mettome, trumpet & mellophone; Urbie Green, trombone; Al Cohn, clarinet & tenor sax; Danny Bank, flute & baritone sax; Jimmy Lyon, piano & celeste; Oscar Pettiford, bass; Jimmy Campbell, drums. New York City, January 15, 1955. #14-19: Doug Mettome, trumpet; Urbie Green, trombone; Al Cohn, tenor sax & bass clarinet; Danny Bank, flute, clarinet & baritone sax; Jimmy Lyon, piano; Oscar Pettiford, bass; Osie Johnson, drums. New York City, January 19, 1955.

Like Bill Harris, who rose from an earlier Herman herd to international, poll-winning acclaim, Urbie Green was destined for great heights in the jazz firmament. On these early recordings Urbie shows every indication that he was well on his way up the musical stairway to stardom.

Septet & Octet

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Sam Cooke - Hits Of The 50s

Bitrate: MP3@320K/s
Time: 33:27
Size: 76.6 MB
Styles: R&B, Soul vocals
Year: 1960/2011
Art: Front

[2:34] 1. Hey There
[2:35] 2. Mona Lisa
[2:12] 3. Too Young
[3:04] 4. The Great Pretender
[2:52] 5. You, You, You
[3:27] 6. Unchained Melody
[3:13] 7. The Wayward Wind
[2:48] 8. Secret Love
[2:40] 9. The Song From Moulin Rouge
[2:46] 10. I'm Walking Behind You
[2:16] 11. Cry
[2:55] 12. Venus

Sam Cooke's second RCA album is mostly a missed opportunity, in terms of representing much about Sam Cooke as an artist or singer -- having him cover pop hits of the previous decade wasn't a terrible idea on its face, but Cooke was still getting accustomed to working at RCA, and he wasn't inspired by the material or the way it was chosen, and the result is an album aimed at what the label thought the white teenage market was all about (and what the company thought the parents of those kids would be most comfortable with them buying from a black recording artist), that's a lot less interesting than some of the singles, including "Chain Gang" and "Wonderful World," that he was doing around the same time. His versions of hits associated with Nat "King" Cole, Johnnie Ray, and the Platters should have made for a more interesting record. Hits of the Fifties is still an improvement over its immediate predecessor, Cooke's Tour, but it's also one of the records that for many years -- in the absence of his best material being available -- blighted Cooke's reputation as a soul singer. ~Bruce Eder

Hits Of The 50s

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Nina Simone - Nina Simone & Her Friends

Bitrate: MP3@320K/s
Time: 35:13
Size: 80.6 MB
Styles: Standards, Jazz vocals
Year: 2014
Art: Front

[3:07] 1. He's Got The Whole World In His Hands
[2:33] 2. A Cottage For Sale
[2:35] 3. Old Devil Moon
[4:05] 4. I Loves You, Porgy
[2:59] 5. Try A Little Tenderness
[2:06] 6. You Made Me Care
[3:57] 7. For All We Know
[2:50] 8. What Is There To Say
[2:16] 9. Too Much In Love To Care
[3:06] 10. African Mailman
[2:31] 11. Goodbye
[3:01] 12. Last Time For Love

The original album was more a way for Bethlehem Records to capitalize on Nina's work during her short stay with the label, as well as some cobbled-together tracks from Chris Connor and Carmen McRae from 1954 sessions. I will not get into the acrimonious relationship that caused Nina to leave the label, nor will I criticize the label for trying to turn a profit. The music on this album speaks for itself and I personally am happy to have what amounts to a compilation of three great vocalists. Nina's piano work is an added bonus. Listen to the sound samples and decide for yourself. I do want to note that the tracks from Connor's and McRae's 1954 sessions have surprisingly good sound quality considering the state of recording technology during that period.

All of Nina's tracks were from the December 1957 session that produced her debut album titled Little Girl Blue. In fact some tracks from that album are repeated on this one. She is backed on the tracks on this album by Jimmy Bond on bass and Al 'Tootie' Heath on drums. Carmen McRae's tracks were all recorded in NYC on October 6, 1954. She is backed by an ensemble comprised of Herbie Mann on flute and tenor sax, Mat Mathews on accordion, Mundell Lowe on guitar, Wendell Marshall on bass and Kenny Clarke on drums. Chris Connor's tracks were recorded during two sets of 1954 sessions. Her tracks on the original 1959 release of this album differ from what is here. Still, the music is representative so the substitutions will mainly affect someone wanting to replace a worn copy of the original album.

Despite the flaws this is still a enjoyable album. It's ironic that Bethlehem cobbled together the original release and the current label, Old Style, managed to mangle even that. ~Mike Tarrani

Nina Simone & Her Friends

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Chrystel Wautier Trio - Peace Of Time

Styles: Latin, Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 47:38
Size: 109,9 MB
Art: Front

(4:42)  1. Whisper Not
(5:15)  2. Old Devil Moon
(5:05)  3. Hope
(2:57)  4. Doralice
(5:25)  5. You're Driving Me Crazy
(4:37)  6. But Beautiful
(5:13)  7. Magic Meets Reality
(4:45)  8. East Of The Sun
(4:56)  9. Eu Quero Um Samba
(4:39) 10. Day In Day Out

Influenced by Soul, R'n'B, gospel and of course jazz, Chrystel Wautier is a young Belgian singer, considered one of the most promising artists of his generation. In 2005 she found a real identity and personal tone in his trio and after four years of concerts (Belgium, France, Morocco ...), she recorded in 2010 his second album "Peace of Time" with guests, Ben Sluijs and Cedric Raymond. Translate by google  http://saintjazz.be/public/index.php/programme/chrystel-wautier-trio

Peace Of Time

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Michéle Ramo, Bucky Pizzarelli, Jerry Bruno - Oh' Lady Be Good

Styles: Dixieland/New Orleans/Swing
Year: 2006
File: MP3@320K/s
Time: 58:34
Size: 134,9 MB
Art: Front

(5:07)  1. Oh' Lady Be Good
(3:07)  2. Autumn Nocturne
(4:55)  3. Crazy Rhythm
(5:17)  4. Everything I Have Is Yours
(5:47)  5. Have You Met Miss Yones
(5:07)  6. They Can't Take That Away From
(7:48)  7. Nuages
(4:59)  8. Stardust
(6:18)  9. Tears
(5:42) 10. Melodie Au
(4:24) 11. A Time For Love

With a swinging program that recalls the spirit of Stephane Grappelli and Django Reinhardt, this contemporary trio of veteran jazzmen delivers straight from the heart. The cohesive program jumps in a lively fashion as the acoustic group delves into material steeped in tradition and mellowed with age. Up-tempo romps like "Have You Met Miss Jones" and "Oh Lady Be Good" find the trio pulling out all the stops in a celebration of syncopation, swing and sunshine. Slower pieces, like "Autumn Nocturne" and "Nuages," allow the trio’s lyrical melodies to flow gently and settle in comfortably as each artist reaches back for inspiration. This music flows like a meandering country stream through a meadow of colorful wildflowers.

All three gentlemen display a deep respect for melody. Violinist Michele Ramo leads with a superb touch, garnering every ounce of flavor from each piece. His version of "Stardust" brings tears to the eyes. Guitarist Bucky Pizzarelli steps forward with lucid solo spots that belie a sincere love for these classic songs, while Jerry Bruno provides a strong bottom foundation. His lovely bass solo on "Have You Met Miss Jones" dances around the familiar melody with a resonance that evokes heartfelt spirit. Ramo applies a variety of techniques in his portrayal, employing seamless, flowing legato when desired and jumping off with a sprightly pizzicato when the mood calls for it. He interprets the music with the emotional strength of gypsy soul and American swing, combined with the universal appeal of song. The ballad is putty in his hands.

Oh Lady Be Good represents a deep love for the essence that can only be found in beautiful songs. It takes two to tango. One side writes the songs, and the other side interprets them with love. The songs of Irving Berlin, George Gershwin, Richard Rodgers, Burton Lane, Johnny Mandel, Django Reinhardt and Stephane Grappelli do a special dance when performed by Michele Ramo, Bucky Pizzarelli and Jerry Bruno. ~ Jim Santella  http://www.allaboutjazz.com/oh-lady-be-good-michele-ramo-moonboat-records-review-by-jim-santella.php

Personnel: Michele Ramo: violin; Bucky Pizzarelli: guitar; Jerry Bruno: bass.

Oh' Lady Be Good

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Gloria Reuben - Perchance To Dream

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 46:25
Size: 108,8 MB
Art: Front

(4:37)  1. Change Partners
(4:51)  2. Poor Girl
(3:43)  3. Close Enough For Love
(4:54)  4. Pure Imagination
(4:14)  5. When I Close My Eyes
(5:39)  6. How Am I To Know
(4:55)  7. Save Your Love For Me
(4:52)  8. You Better Love Me
(4:23)  9. Sharing The Night With The Blues
(4:13) 10. Here's To Life

Every track on “Perchance to Dream” has a unique treatment. The Irving Berlin standard, “Change Partners” starts off the album with a jazz waltz. Latin styles were also included. Jay Ashby’s arrangement of “Close Enough For Love” is a mambo and Marty Ashby’s arrangements of “Pure Imagination” and “How Am I To Know” take on a Samba and Bossa Nova feel respectively. Ballads include a contemporary adaptation of “Save Your Love For Me” and the ever powerful “Here’s To Life” that was arranged for only voice and guitar. 

To spice things up, the album includes a jazz rock version of “Sharing The Night With The Blues” and the swinger, “You Better Love Me.” Two previously unrecorded, original tunes were included on Perchance to Dream: the ballad “When I Close My Eyes” by K. Lawrence Dunham and Carol Robbins and the bluesy “Poor Girl” with lyrics from the poem, Poor Girl by Dr. Maya Angelou and music by Jay Ashby. Reuben says she was, “so grateful to pour my heart into” the two new tunes. http://myiesstore.com/mcgjazz/product/gloria-reuben-perchance-to-dream-cd/

Perchance To Dream

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Royal Crown Revue - Mugzy's Move

Styles: Retro Swing
Year: 1996
File: MP3@320K/s
Time: 50:00
Size: 115,5 MB
Art: Front

(3:33)  1. Hey Pachuco!
(3:25)  2. Zip Gun Bop
(3:45)  3. Mugzy's Move
(3:35)  4. I Love the Life I Live
(5:30)  5. The Walkin' Blues
(3:47)  6. Beyond the Sea
(2:45)  7. Park's Place
(2:42)  8. Datin' with No Dough
(4:44)  9. Trouble in Tinsel Town
(3:40) 10. Topsy
(3:53) 11. The Rise and Fall of the Great Mondello
(2:44) 12. Honey Child
(2:49) 13. Hey Pachuco! (Reprise)
(3:01) 14. Barflies at the Beach

With their debut album Mugzy's Move, the Royal Crown Revue bring back the sound of pre-rock jump blues, playing a set of Louis Jordan-inspired originals and ocovers. Although the band is energetic and proficient, their cutesey originals and campy album art give their music an aura of being some sort of kitschy joke. Still, the band is talented enough to make those kinds of questions relatively easy to ignore. Mugzy's Move, despite it's flaws, is an engaging set of nostalgic fun. ~ Thom Owens  http://www.allmusic.com/album/mugzys-move-mw0000187938

Royal Crown Revue: Eddie Nichols (vocals); James Anchor (guitar, background vocals); Mando Dorame (tenor saxophone, background vocals); Bill Ungerman (baritone saxophone, background vocals); Scott Steen (trumpet, bakcground vocals); Veikko Lepisto (bass, background vocals); Daniel Glass (drums, percussion, background vocals).

Mugzy's Move

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