Elaine Lucia - A Sonny Day

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 41:50
Size: 96,5 MB
Art: Front

(4:48)  1. I Like the Sunrise
(4:18)  2. Lugar Bonito
(4:44)  3. Sea Journey
(3:18)  4. Sunny
(2:07)  5. Fun Life
(3:34)  6. I Only Have Eyes For You
(4:14)  7. In The Land Of Make Believe
(3:47)  8. When The World Is At Rest
(3:10)  9. I Call You Sonny
(2:48) 10. You Are There
(4:57) 11. Final Remembrance

“A Sonny Day” is a “day in the life of” concept, beginning with Duke Ellington’s prayerful “I Like The Sunrise,” and ending with the hymn-like homage “Final Remembrance.” After the sunrise song, the ‘day’ progresses with songs that serve as metaphors for life’s journey. As the sun rises higher in the sky, the songs gain in intensity and climax at high noon with a samba treatment on “I Only Have Eyes For You.” The day goes on, the sun begins to set, and the songs get quieter as we remember and dream of those we love, and those we’ve lost. “In The Land Of Make Believe” and the lovely song “When The World Is At Rest” are like lullabies, ushering in night time, where the bittersweet song “You Are There” reminds us that our loved ones are never truly gone; they live in our hearts and within the small moments of every day life that evoke cherished memories. The last song, “Final Remembrance,” was originally an instrumental song by vibraphonist Gerry Grosz. I heard the! song on the day of my father’s funeral, and the simple, beautiful melody haunted me for days. I wrote the lyrics shortly after, and it says all that was in my heart on that day. ~ Editorial Reviews  http://www.amazon.com/A-Sonny-Day-elaine-lucia/dp/B000H9I1MI

A Sonny Day

---

Count Basie - Compact Jazz - Basie Plays The Blues

Styles: Swing, Big Band
Year: 1992
File: MP3@320K/s
Time: 63:11
Size: 145,4 MB
Art: Front

(2:46)  1. Li'l Ol Groovemaker...Basie
(2:47)  2. Two For The Blues
(3:02)  3. Eee Dee
(3:41)  4. The Long Night
(2:23)  5. Blee Blop Blues (Live In Gothenburg / 1956)
(3:11)  6. Sent For You Yesterday And Here You Come Today
(3:42)  7. Slow But Sure
(3:05)  8. Magic
(6:34)  9. Blues Inside Out
(3:20) 10. Cherry Point
(2:44) 11. Stompin' & Jumpin'
(4:00) 12. Paradise Squat
(3:23) 13. Goin' To Chicago Blues
(3:16) 14. Jump For Johnny
(5:53) 15. Rails
(3:05) 16. Blues For The Count And Oscar
(3:00) 17. Sure Thing
(3:12) 18. Midgets

Bill Basie studied music with his mother as a child and played piano in early childhood. He picked up the basics of early ragtime from some of the great Harlem pianists and studied organ informally with Fats Waller. He made his professional debut as an accompanist for vaudeville acts and replaced Waller in an act called Katie Crippen and her Kids. He also worked with June Clark and Sonny Greer who was later to become Duke Ellington’s drummer. It was while traveling with the Gonzel White vaudeville show that Basie became stranded in Kansas City when the outfit suddenly broke up. He played at a silent movie house for a while and then became a member of the Walter Page Blue Devils in 1928 and ’29. Included in the ranks of the Blue Devils was a blues shouter who was later to play a key role as early male vocalist with Basie’s own big band, Jimmy Rushing. It was in fact the rotund Rushing who happened to hear Basie playing in Kansas City and invited him to attend a Blue Devil's performance. Basie soon joined the band after sitting in with them that night. After Page's Blue Devils broke up Count Basie and some of the other band members integrated into the Bennie Moten band. He remained with Moten until his death in 1935. After Moten’s death the band continued under the leadership of Bennie’s brother Buster, but Basie started a group of his own and soon found a steady gig at the Reno Club in Kansas City employing some of the best personnel from the Moten band himself.

The band gradually built up in quantity and quality of personnel and was broadcast live regularly from the club by a small Kansas City radio station. It was during one of these broadcasts that the group was heard by John Hammond, a wealthy jazz aficionado, who had himself worked as an announcer, disc jockey and producer of a live jazz show on radio. Hammond decided that the band must go to New York. Through his efforts and support (at times even financially) the band enlarged its membership further and went to New York in 1936. Hammond installed Willard Alexander as the band’s manager and in January of 1937 the Count Basie band made its first recording with the Decca record label. By the following year the Basie big band had become internationally famous, anchored by the leader’s simple and sparse piano style and the rhythm section of Freddie Greene guitar, Walter Page bass, and Jo Jones drums. The great soloists of this band included Jimmy Rushing as vocalist, Lester Young and Herschel Evans tenor saxes, Earl Warren on alto, Buck Clayton and Harry “Sweets” Edison on trumpets, and Benny Morton and Dickie Wells on trombones, among others. Also contributing to the bands success were the arrangements by Eddie Durham and others in the band and the “head” arrangements spontaneously developed by the group. Despite the occasional losses of key soloists, throughout the 1940’s Basie maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists. Among the long line of budding stars to pass through the Basie aggregation's ranks during these years were tenor men, Lester Young, Herschel Evans, Don Byas, Buddy Tate, Lucky Thompson, Illinois Jacquet, and Paul Gonsalves. On trumpets the list includes Buck Clayton, Harry “Sweets” Edison, Joe Newman, and Emmett Berry. In the trombone section Dickie Wells, Benny Morton, Vic Dickenson, and J.J. Johnson all had stints with Basie in the 40’s.

Except for a period in 1950 and ’51, when economic conditions forced him to tour with a septet, Basie maintained a highly swinging big band that, at one time or another, included Clark Terry, Wardell Gray, Al Grey, Frank Wess, Frank Foster, Thad Jones, Sonny Payne, Joe Wilder, Benny Powell, and Henry Coker. In 1954 Joe Williams became the band's full time male vocalist. By 1955 he had infused the Basie band with new life and further commercial success beginning with Every Day I Have The Blues. Also during this period arrangers Neal Hefti and Ernie Wilkins contributed many fine swinging arrangements to the band's book. These great men of music coupled with Basie’s undying allegiance to the beat and the 12 bar blues allowed the band to consistently turn out records of extremely high caliber well into even the 1970’s. Count Basie's health began deteriorating in 1976 when he suffered a heart attack that put him out of commission for several months. Following another stay in the hospital in 1981 he began appearing on stage driving an electric wheel chair. Count Basie died of cancer at 79. Along with a number of Grammy awards the Count and his big bands won the following Jazz polls: Esquire’s Silver Award in 1945; Down Beat reader’s poll in 1955, ’57-’59; Metronome Poll ’58-’60; Down Beat Critics Poll ’54-’57; Playboy All Stars’ All Stars ’59. As pianist Basie won the Metronome Poll in ’42-’43. In 1958 Count Basie was elected to the Down Beat Hall Of Fame. http://musicians.allaboutjazz.com/countbasie

Compact Jazz - Basie Plays The Blues

---

Marcie Castro - Enchantment

Size: 115,1 MB
Time: 49:07
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz/Pop Vocals, Brazilian Rhythms
Art: Front

01. Let's Do It (3:15)
02. The Way You Look Tonight (3:08)
03. Steppin'out With My Baby (2:07)
04. A Nightingale Sang In Berkley Square (3:26)
05. Corcovado (Quiet Nights Of Quiet Stars (5:17)
06. Les Valses - Tendresse Et La Vie En Rose (3:23)
07. Mas Que Nada (3:22)
08. So Serene (3:47)
09. I Got Rhythm (3:43)
10. Bells Are Ringing (2:22)
11. Send In The Clowns (4:05)
12. I Can't Give You Anything But Love (2:52)
13. Just My Friends And I (2:50)
14. Home With You (3:33)
15. Reilly's Theme (1:50)

International artist Marcie Castro captures, animates and enchants her audiences whether in her native New York or overseas. A versatile pianist, vocalist and composer, Marcie is equally at east performing American popular standards of the 30's and 40's, as well as the music of her Brazilian heritage. "Enchantment" is her first CD, a melange of Brazilian music, jazz and pop originals.

Join Marcie as she takes you on a journey. It is a journey where she entices her listeners to be a part of her world: a world of soirees that take place in different countries as well as in her own imagination; scenes where one becomes caught up in the wonder and magic of her heart. Her piano style is rich and inventive filled with texture, color and space. The Bossa Nova is cool and smooth. The Samba is hot. Her sense of hard edge swing vocals echo the resounding tones of the immortal Ella Fitzgerald.

Fluent in romantic languages, Marcie's romantic homage to Edith Piaf "Les Valses" is a work of art. Her modern interpretation of the classic Jerome Kern composition "The Way You Look Tonight" and the World War II ballad "A Nightingale Sang In Berkley Square" utilizes her sweet pensive heartfelt voice to convey her deepest feelings, thoughts and emotions.

"Bells Are Ringing" is the title song composed by Jule Styne, Adolph Green and Betty Comden for the show of the same name, Here Marcie creates her own take on this rather obscure piece. Her rendition of Sondheim's "Send In The Clowns" is a real gem, memorable and one of her most requested songs. Freedom and passion are most felt in the swing numbers "Let's Do It" and "I Can't Give You Anything But Love".

"Mais Que Nada", a samba made famous by Sergio Mendes and Brazil 66, is performed with an authentic Brazilian style that is hot, sexy and whimsical. While listening you might feel Marcie's personal invitation to join her in the Carnaval paradeIn Antonio Carlos Jobim's "Corcovado (Quiet Nights of Quiet Stars)" she takes us to a place in Rio, a familiar place where she spent a great deal of her childhood.

Two brilliant rhythm sections, one in Los Angeles and the other in New York, accompany Marcie and make the jamming all possible. The guitar solos of LA based, Larry Koonse sway serenely in the Bossa Novas. "I Got Rhythm" is her own arrangement that builds into a driving jazz alto sax solo performance by LA based Rusty Higgins.

At the end of the journey through Marcie's enchanted world, we hear a beautiful original composition called, "Reilly's Theme". No words are sung as the vocalizations take the listener to a dreamy and ethereal place.

"Enchantment", a most eclectic CD will capture your heart and leave you yearning to hear more of this greatly diverse artist, entertainer and composer who so easily has integrated jazz, Brazilian music and cabaret.

Enchantment

---

Mark Maxwell - Blue Moon

Size: 112,1 MB
Time: 48:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Moonlight In Vermont (3:44)
02. Shadow Of Your Smile (3:45)
03. When Sunny Gets Blue (2:47)
04. Take The A Train (2:54)
05. Blue Moon (3:53)
06. Meditation (3:27)
07. Sophisticated Lady (3:57)
08. In A Sentimental Mood (5:48)
09. Autumn Leaves (4:54)
10. Here's That Rainy Day (4:06)
11. 'Round Midnight (5:33)
12. Angel Eyes (3:11)

Blue Moon is the mellowest of the mellow. Deeply relaxing, spacious, sophisticated and subtle.

This one's something special - timeless jazz standards performed on tenor saxophone and grand piano.

Blue Moon: a fine collection of very mellow and romantic standards. This one is unique in that it is done with sax and piano only, so it has a very spacious and beautiful sound, with lots of subtle elements.

Danilo Santinelli is a remarkable musician and educator from Argentina whom I met through a mutual friend here in California, Larry Brooding, who engineered the meeting between Danilo and I, knowing that sparks would fly, and fly they did. After our first time playing together, I knew we had to get it recorded, so we immediately began planning a recording session. This CD is a product of that session.

We really labored over the tune list. We wanted to find songs that were classics but that would lend themselves to a spacious rendition. And during the recording session we continually reminded ourselves to keep it mellow, to lay back. So this CD is really, really mellow, and very consistently so.

In fact, I like to say that this CD is like a snifter of fine cognac: dark, rich, mellow, and relaxing. I hope you agree.

Blue Moon

---

Gonzalo Rubalcaba - Suite Caminos

Size: 192,3 MB
Time: 83:44
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Afro Cuban Jazz
Art: Front

01. Sendero De Aliento ( 9:08)
02. El Hijo Mensajero ( 9:21)
03. Destino Sin Fin (10:00)
04. Sendero De Espuma (14:44)
05. Santa Meta (10:57)
06. Alameda De Vientos (Feat. John Mclaughlin) ( 9:24)
07. Via Prodigiosa ( 6:30)
08. Ronda De Suerte (13:36)

Gonzalo Julio Gonzalez Fonseca was born in post-revolutionary Havana into a musical family rich in the traditions of the country’s artistic past. During his childhood, in addition to the standard fare of elementary schools, Gonzalo absorbed the Cuban musical heritage of his nascent environment through personal contacts within his family, notably his father, pianist Guillermo Rubalcaba and his two brothers (pianist and bassist) as well as from leading musicians who were frequent houseguests: Frank Emilio, Peruchin, Felipe Dulzaides and others. He also assimilated, through scarce and treasured recordings, the tunes and styles of 40's – 70's US jazz masters: Thelonius Monk,Bud Powell, Oscar Peterson among pianists; and instrumentalists Charlie Parker, Dizzy Gillespie and Art Blakey. Gonzalo loved drumming and early in his career studied both piano and drums. Despite the diversity of his background, Gonzalo’s initial formal musical training was entirely classical. He began his training at Manuel Saumell Conservatory at age 9, where he finally chose the piano as his main instrument. He moved up to middle-school at Amadeo Roldan Conservatory and finally earned his degree in music composition from Havana’s Institute of Fine Arts in 1983.
By that time he was already playing in clubs and music halls in Havana. He toured France and Africa with Orquesta Aragon in 1980 and introduced his ownGrupo Projecto to the North Sea and Berlin Festivals in 1985. Egrem Studios of Havana was the first to record his music during the early and mid ’80's and these discs, Inicio, an album of piano solos andConcierto Negro, are still available. Beginning in 1986 Gonzalo began recording for Messidor of Frankfurt, Germany and put out three highly acclaimed albums for that label with his Cuban Quartet entitled Mi Gran Pasion,Live in Havana, and Giraldilla. On the strength of these works Gonzalo began attracting international attention and in 1986 a chance meeting in Havana with bassist Charlie Haden brought him to the attention of Blue Note Records‘ president, Bruce Lundvall, and thus began an association first withToshiba/EMI of Japan and later with Blue Note in the US which resulted in 14 discs being released. (See the Discography page for a complete listing.) In July 1990, he appeared as a surprise guest in an historic performance, available on the CD Discovery with Charlie Haden and Paul Motian (ex Bill Evans trio members) at the Montreux Jazz Festival, Switzerland.

Further works eventually brought Gonzalo both a Latin Grammy for Jazz Album of the Year, Supernova, as well as a Grammy for co-production with Charlie Haden on Nocturne, a Verve release of Cuban and Mexican boleros and ballads. Gonzalo has to his credit 15 Grammy nominations, including five for Jazz Album of the Year, Rapsodia in 1995, Antiguoand Inner Voyage in 1999, Supernova in 2002, Avatar in 2008. Among recent honors, in June 2001 Gonzalo received the SFJAZZ Leaders Circle Laureate Award and in 2002 he performed as Artist-in-Residence at the Montreal Jazz Festival together with Chucho Valdez. Gonzalo has performed with the likes of Dizzy Gillespie, Ignacio Berroa, Chick Corea, Al DiMeola, Herbie Hancock,Charlie Haden, Katia Labeque, Richard Galliano, Francisco Cepsedes, Tony Martinez, Issac Delgado, Juan Luis Guerra, Dave Holland, Chris Potter, Eric Harland, Dennis Chambers, Brian Bromberg, Ron Carter, Yosvany Terry,Matt Brewer, Mike Rodriguez, Marcus Gilmore, Pat Martino, Giovanni Hidalgo,John Patitucci, Jack DeJohnette, Joao Bosco, Eric Harland , Ivan Linz and many others.

Suite Caminos

---

Kaoru Azuma - Wonderlands (Feat. Phillip Strange)

Size: 155,6 MB
Time: 67:15
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Alice In Wonderland (7:03)
02. My Foolish Heart (7:53)
03. Four (6:13)
04. What A Wonderful World (7:33)
05. So Nice (4:24)
06. My One And Only Love (6:29)
07. Joy Spring (4:20)
08. Moonlight Serenade (7:09)
09. East Of The Sun (5:09)
10. But Not For Me (6:03)
11. I'll Be Seeing You (4:55)

Kaoru Azuma was born in Osaka, Japan 1977.
She started her professional career during her junior college year in Osaka, Kyoto, and other parts of Japan.
In 2000, she got the one of the prizes of the Kobe Jazz Vocal Queen Contest.
In 2003, she moved to New York to perform and enrolled in the jazz studies program at the City College of New York.
Kaoru’s knowledge and education in music comes from great singers and musicians such as Mark Murphy, Sheila Jordan,
Suzanne Pittson, Kate McGarry, Mike Holober and Scott Reeves in New York.
After receiving her BFA degree and the Pro Music Award from City College, Kaoru began performing in clubs such as the 55 bar, the Cornelia Street Café and others while collaborating with New York-based musicians.
In 2006, Kaoru’s 1st CD, The Water Is Wide was released in the U.S. and has had airplay in Belgium and Switzerland.
In 2008, Kaoru’s 2nd CD, Footprints in New York (River East Music 1002, 1003), was released in the U.S. and Japan.
Her selections are primarily compositions associated with the great jazz masters.
Her CD was reviewed and recommended as a Hot New CD for Summer 2009 by Jazz Improv Magazine.
In 2010, Kaoru was selected as a guest vocalist with Japanese All Stars from Kobe City for the French Quarter Jazz Festival in New Orleans, where she performed a series of acclaimed shows.
In 2011, Kaoru was selected as one of the semifinalists for the 10th International Jazz Voices Competition in Klaipeda, Lithuania.
The unit Star In Green with guitarist, Jesse Forest released its 1st album Star In Green (River East Music 1003) in October 2011.
In 2013, Travels (APLS-1305 Apollo Sounds) with co- leader Hitomi Nishiyama, was released.
Throughout she has been known as a remarkable and creative jazz vocalist, composing original music, writing lyrics on re-imagined instrumental tunes, doing free improvisation, and contributing unique arrangements to the jazz canon.

Wonderlands

---

Bruce Riley - Central Eclipse

Size: 116,7 MB
Time: 50:16
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. It's All Good (5:09)
02. Smoothin' That Smooth (6:31)
03. Sunset Delight (3:46)
04. Invisable Mirrors (5:09)
05. Planetarium Orbit (4:09)
06. Eligant Charms (5:16)
07. Holiday Feast (3:54)
08. Elements (4:46)
09. Central Eclipse (7:23)
10. Cruisin' That Groove (4:08)

Jazz grooves at its finest. Captivates the melody moods of smooth, nu, and contemporary grooves like no other.

Any more info will be welcome.

Central Eclipse

---

Evan Christopher, Koen De Cauter & David Paquette - New Orleans Rendezvous

Size: 155,2 MB
Time: 66:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: New Orleans Jazz, Swing
Art: Front

01. Blues My Naughty Sweetie Gives To Me (4:40)
02. Histoire De Faussaire (5:35)
03. Chloe (Song Of The Swamp) (5:56)
04. There'll Be Some Changes Made (5:09)
05. Melancholy (4:53)
06. Them There Eyes (5:21)
07. Please (3:58)
08. Luz Que No (4:40)
09. Someday Sweetheart (4:33)
10. Walking Stick (4:57)
11. Blues For Nina (3:48)
12. Les Passantes (4:55)
13. Everybody Loves My Baby (3:57)
14. Song Of The Island (3:35)

Evan Christopher - Clarinet
Koen De Cauter - Guitar
David Paquette - Piano

Evan Christopher combines virtuosity, immaculate taste, and enthusiasm with a deep commitment to exploring the full range of possibilities of the New Orleans clarinet tradition. His highly personal brand of "contemporary early-jazz" strives to expand the unique musical vocabulary created by early Creole musicians such as Sidney Bechet, Omer Simeon, and Barney Bigard.

Christopher's journey on Clarinet Road began in 1994 when he left his native California to join the New Orleans music community. Diverse work included gigs with musicians such as Al Hirt or veterans of Preservation Hall to funk and brass bands including the Nightcrawlers and Galactic until he accepted regular work with the Jim Cullum Jazz Band of San Antonio, Texas in 1996. For nearly three years, he appeared nightly as their featured clarinetist and recorded several of their syndicated radio programs, Riverwalk: Live from the Landing.

When Christopher returned to New Orleans, published research and presentations on the New Orleans clarinet style initiated pursuit of a Masters degree in Musicology at Tulane University. He also began producing his "Clarinet Road" series of CDs (STR Digital) and touring internationally. Other recordings have found him alongside many New Orleans artists including Big Al Carson, Duke Heitger, Irvin Mayfield, Uncle Lionel Battiste, and Tom McDermott. After the the Federal levees failed in the aftermath of Hurricane Katrina in August, 2005, he accepted an artist residency in Paris at the invitation of the French government and formed his current group, Django à la Créole. This Europe-based quartet fuses Gypsy Swing with New Orleans grooves and rhythms of le monde Créole. Three CDs for (Frémeaux & Associés) "Django à la Créole" 2007, "Finesse" 2010, and LIVE 2014 have all gained critical attention and earned the group a worldwide reputation for its elegant, acoustic character.

Having returned permanently to New Orleans in 2008, Christopher is an advocate for the cultural workforce and jazz-based music education. He taught briefly at the University of New Orleans where he coached a "New Orleans Music Ensemble" that performed with guest mentors such as Lucien Barbarin and Marcus Roberts. Locally, although it is rare to find him performing in bars, hotels or restaurants, he does appear occasionally as a guest with groups such as the New Orleans Jazz Orchestra and jazz composer guild, NOLA ArtHouse Music. He also writes columns about the music scene for NolaVie.com

As a composer, his original songs are the high point of acclaimed recordings such as "Delta Bound " (Arbors, 2007) featuring pianist Dick Hyman, "The Remembering Song " (Arbors, 2010) featuring guitarist Bucky Pizzarelli, and the Grammy-winning New Orleans Jazz Orchestra's "Book One." (2012). In July 2010, he had the honor to debut his "Treat It Gentle Suite," the first concerto written for clarinet and jazz band in the New Orleans style, with the Minnesota Orchestra. Mr. Christopher began his musical training on clarinet at age 11. In high school, he received the Louis Armstrong National Jazz Award and was one of the first graduates of the prestigious Idyllwild Arts Academy. He continued studies at the University of Southern California and graduated cum laude with a Bachelor's degree from California State University, Long Beach.

New Orleans Rendezvous

---

Alex Bugnon - Going Home

Bitrate: MP3@320K/s
Time: 40:16
Size: 92.2 MB
Styles: Piano jazz
Year: 2010
Art: Front

[6:00] 1. Oliloqui Valley
[5:08] 2. Silverfinger
[3:07] 3. The World Is A Ghetto
[5:50] 4. Nouthra Dona Di Maortse
[3:20] 5. Jersey Jump
[5:59] 6. Another Love Season
[5:43] 7. Ahmad's Apple
[5:07] 8. Going Home

Montreux-reared Bugnon studied at a music conservatory in Paris before coming to America to continue at Boston’s famed Berklee School of Music. He spent a lot of time playing not only jazz but gospel, gigging on that time-honored southern circuit. Upon graduation he moved to New York. After spending a year driving taxicabs and teaching French at the Berlitz School, he found initial work backing R&B stars such as Patti Austin & James Ingram and Keith Sweat. It was through backing Freddie Jackson that he made the contact at then-new Orpheus Records where he recorded his first two CDs Love Season (1989) and Head Over Heels (1991), making his deepest first impressions with R&B audiences as a soulful instrumentalist du jour. A switch to Sony’s Epic Records family yielded 107 Degrees in the Shade (1991) and This Time Around (1993), upon which time he jumped to RCA Records for Tales from the Bright Side (1995). From there he segued into the four albums he did for Narada Records, an associated label that specialized in smooth jazz and new age.

Beyond his recordings, Alex has built a loyal fan base through constant touring on the club and jazz festival circuits. Just last year he passed the great Dizzy Gillespie’s record of playing Washington, D.C.’s Blues Alley for 12 consecutive Thanksgivings with his own lucky 13th visit. That most recent gig found his new music from Going Home receiving quite the warm welcome. “People in their 40s, 50s and 60s that have all of my CDs were raving about the new songs,” he beams. “At the same time, college students that are more likely to be Radiohead fans were coming up to me saying, ‘I really dug that ‘Silver Finger’ song, man’ - which was really nice to hear!”

“I’m very proud to be heading into this direction,” Alex concludes concerning Going Home, the first release through his own company Xela Productions (“Alex” spelled backwards). “I might not get immediate gratification, but that’s not what this is about. I’m so happy with what I was able to do with the help of my friends. It’s just an unbelievable feeling... The timing of this record could not be more perfect.”

Going Home

---

The Kennedy Brothers - I'll Remember April

Bitrate: MP3@320K/s
Time: 53:01
Size: 121.4 MB
Styles: Piano jazz
Year: 2013
Art: Front

[6:57] 1. I'll Remember April
[5:36] 2. Tenderly
[8:00] 3. Secret Love
[4:27] 4. Laura
[6:10] 5. Pennies From Heaven
[5:02] 6. Midnight Mood
[6:46] 7. Soft Winds
[4:32] 8. You Don't Know What Love Is
[5:29] 9. Silk Stockings-All Of You

Ray Kennedy, piano; Tom Kennedy, bass; Todd Strait, drums.

This recording is an excellent example of piano trio music. Ray Kennedy, of the John Pizzarelli Trio, shows his unbelievable sense of musicality on this record. He plays the piano beautifully on the ballad Laura and is unbelievable on I'll remember April, the title track. Tom Kennedy, of the Dave Weckl Band, has an incredible sense of time and feel on the bass. His melodic sense will blow you away! His solos are unbelievably technically challanging and have a wonderful melodic and harmonic sense.....he sounds like a horn player! You can also hear him on his solo release "Basses Loaded," on TKM records. Todd Strait's drumming is absolutely flawless. His great sense of time and feel truly add to this remarkable record! ~J. Lovins

I'll Remember April

---

Billy Cardine - Six String Swing

Bitrate: MP3@320K/s
Time: 39:05
Size: 89.5 MB
Styles: Swing, Guitar jazz
Year: 2012
Art: Front

[3:41] 1. Them There Eyes
[3:44] 2. Les Yeux Noirs
[3:44] 3. After You've Gone
[3:21] 4. Rose Room
[5:22] 5. Nuages
[3:22] 6. Double Scotch
[3:57] 7. Sweet Chorus
[2:24] 8. Hungaria
[3:13] 9. Oriental Shuffle
[3:17] 10. China Boy
[2:57] 11. Django's Castle

The swing music Billy Cardine is tackling on the resophonic guitar on this project is some of my all time favorite music, and in his hands, the music itself takes on an all new meaning to me. It all sounds so natural to the resophonic guitar that one is almost forgiven for not realizing that this is pretty much impossible to pull off so convincingly. Billy is definitely a rising star in the resophonic world! ~Mike Auldridge

Six String Swing

---

Cécile Verny Quartet - The Bitter And The Sweet

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 56:18
Size: 129,4 MB
Art: Front

(5:51)  1. The Bitter And The Sweet
(3:03)  2. I Am Broken
(4:13)  3. Motherland
(4:22)  4. Face à Face
(5:34)  5. Soft Snow
(4:02)  6. Memory Hither Come
(5:38)  7. Two Ghosts
(4:00)  8. Quand Il Pleut
(4:48)  9. Nomades
(3:53) 10. Mad Song
(4:12) 11. I Will Give My Love An Apple
(4:21) 12. You Here And Now
(2:15) 13. Cradle Song Ii

The path of the Cécile Verny Quartet (CVQ) has been an eventful one, during the past quarter century of their existence.  When the young singer from the Ivory Coast moved from France to Freiburg in the late 80’s, she discovered Jazz almost by chance.  Yet even then, she dared to lead the way in bridging the gap between French and English texts.  First in a duet and then in a trio she explored the standards of Modern Jazz and Blues, all while creating her own material.  In 1989 they became a quartet with the addition of the bassist Bernd Heitzler, a like-minded new member, and from then on were known under the catchy abbreviation of CVQ. Their first CD release was in 1992 and in the following two decades the foursome, which also included pianist Andreas Erchinger and drummer Lars Binder, played their way to international esteem.  

The tour route led from Paris to Nairobi, from Antibes to Asmara, and from South Africa to Latvia. Eight CDs accompany the amazing career, they span from the Afro-colors (“Métisse”, 1999 and “Kekeli”, 2001) in which Verny reflects upon her heritage, through delicate Jazz poetry in French (“Amoureuse”, 2008), to the sophisticated, rocking soulful tones that characterize the last album “Fear & Faith” (2012).  German record critics are enthusiastic about the qualities of the CVQ and their 2006 production, “The Bitter & The Sweet,” was awarded the Grand Prix by the Jury at the festival in Antibes.  Numerous radio recordings characterize the varied work of the three men and their front lady. Today the Quartet can accredit themselves with 78 original compositions and 8 CDs. More.. http://jazzhausrecords.com/C%C3%A9cile_Verny_Quartet-en

Personnel: Cécile Verny (vocals); Bernd Heitzler (acoustic bass); Andreas Erchinger (piano); Torsten Krill (drums).

The Bitter And The Sweet

---

The Mel Lewis - 20 Years At The Village Vanguard

Styles: Bop, Post-Bop
Year: 1986
File: MP3@320K/s
Time: 55:35
Size: 127,6 MB
Art: Front

( 5:18)  1. All Of Me
( 7:19)  2. Blue Note
( 8:45)  3. Butter
( 6:08)  4. C Jam Blues
( 5:23)  5. Dearly Beloved
( 5:54)  6. Interloper
( 5:51)  7. Alone Together
(10:53)  8. American Express

The Mel Lewis Jazz Orchestra (originally co-led by Thad Jones) celebrated its 20th anniversary with this Atlantic album, one of its very few major-label releases. Although two of Jones'arrangements are on this set ("All of Me" and "Interloper"), the big band had changed quite a bit since his defection in 1979, becoming younger (it was originally an all-star group), less dependent on one arranger, and a bit more influenced by classical music while still swinging. The 1985 version of the band included such notable players as pianist Kenny Werner, altoist Dick Oatts,and both Joe Lovano and Ralph Lalama on tenors, but it was more of a team effort without any one player dominating. Excellent modern big-and music. ~ Scott Yanow  http://www.allmusic.com/album/20-years-at-the-village-vanguard-mw0000188323

Personnel: Mel Lewis (vocals, drums); Joe Lovano, Ralph Lalama (vocals, flute, clarinet, tenor saxophone); Dick Oatts (vocals, flute, soprano saxophone, alto saxophone); Jim Powell (vocals, trumpet); Ed Neumeister (vocals, trombone); Kenny Werner (vocals, piano); Ted Nash (flute, clarinet, soprano saxophone, alto saxophone); Gary Smulyan (bass clarinet, baritone saxophone); John Mosca (trumpet, trombone); Bill Pusey, Glenn Drewes, Earl Gardner, Joe Mosello (trumpet); Stephanie Fauber (French horn); Earl McIntyre, Douglas Purviance (trombone, bass trombone).

20 Years At The Village Vanguard

---

Tony Monaco Trio - Burnin' Grooves

Styles: Jazz, Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 54:35
Size: 125,4 MB
Art: Front

(5:59)  1. Blues for T
(5:57)  2. Backward Shack
(4:18)  3. Girl Talk
(3:56)  4. Fungi Mama
(6:27)  5. Jumpin' the Blues
(6:40)  6. Ashleen
(7:42)  7. Bluesette
(6:42)  8. Road Song
(6:50)  9. So Long For Now

Tony Monaco fronts two organ trios on this album of hot standards. The leader and two excellent guitar traditionalists make the session stand out. Monaco maintains a lively rhythmic groove, while everyone adds fuel to the fire. Trading fours and stretching out, each trio member participates independently. And yet, they're cohesive. Derek DiCenzo and Louis Tsamous work with the organist on "Backward Shack," "Fungi Mama" and "So Long for Now." Paul Bollenback and Byron Landham – longtime associates of Joey DeFrancesco jam with Monaco for the rest. The courage required of him in overcoming neuralgic amyotrophy speaks to the organist's enthusiasm. His motivation has carried him through tough times from age 15 on. External motivation has come from Jimmy Smith and Joey DeFrancesco; both encouraging him to perform with them at key intervals. More about Monaco's courageous battle and highlights from this, his latest album, are available from his web site.  Joey DeFrancesco sits in on piano for "Girl Talk," the session's lone vocal number. His romping interlude burns in vintage form. That track and "Bluesette" represent the album's high points. This is hot, straight-ahead jazz. There are no low points. ~ Jim Santella  http://www.allaboutjazz.com/burnin-grooves-tony-monaco-review-by-jim-santella.php

Personnel: Tony Monaco- Hammond B3 organ, vocals; Joey DeFrancesco- piano; Paul Bollenback, Derek DiCenzo- guitar; Byron Landham, Louis Tsamous- drums.

Burnin' Grooves

---

Bill Watrous - Space Available

Styles: Trombone Jazz, Big Band
Year: 1997
File: MP3@320K/s
Time: 70:24
Size: 161,6 MB
Art: Front

( 6:42)  1. Space Available
( 7:43)  2. The Road Goes Ever Onward
( 9:38)  3. It'll Count If It Goes
( 6:13)  4. My Foolish Heart
( 9:50)  5. Mama Lama Samba
( 6:15)  6. My Romance
(10:59)  7. I Got d'Zzz'z
(13:01)  8. Village Dance

In the mid-1970s, trombonist Bill Watrous led a couple of notable big band albums for Columbia. Since relocating to the Los Angeles area in the '80s, Watrous has put together jazz orchestras on a part-time basis to play at local clubs. Finally, in 1997, a recording was released by the more recent version of the Bill Watrous Big Band. Featuring arrangements by Tom Kubis, Shelly Berg, Gordon Goodwin, Ken Kaplan and Frank Perowsky, the Double-Time set is largely straight-ahead but not exactly predictable. Most of the eight selections have their complex sections, but always swing. 

The warm-toned trombonist is the main soloist (fully showcased on "My Foolish Heart" and "My Romance"); powerhouse pianist Shelly Berg is the top supporting player, and other key voices include Gene Burkurt and Bill Liston on tenors, trumpeters Bob Summers and Steve Huffsteter, and altoist Sal Lozano. The music is as rewarding as one would expect, considering the caliber of these players, and is easily recommended to modern big-band fans. ~ Scott Yanow  http://www.allmusic.com/album/space-available-mw0000025021

Personnel: Bill Watrous (trombone); Sal Lozano, Phil Feather, Bill Liston, Gene Burkurt, Bob Carr (saxophone); Dennis Farias, Wayne Bergeron, Bob Summers, Darrel Gardiner, Steve Huffsteter (trumpet); Doug Inman, Bob McChesney, Wendell Kelly, Rich Bullock (trombone); Shelly Berg (piano); Trey Henry (bass); Randy Drake (drums).

Space Available

---

Pablo Bobrowicky - South Of The World

Bitrate: MP3@320K/s
Time: 72:35
Size: 166.2 MB
Styles: Mainstream jazz
Year: 1997/2010
Art: Front

[ 4:26] 1. Straight, No Chaser
[ 4:33] 2. De Buenos Aires A Rio
[ 4:31] 3. Escape
[ 6:53] 4. Algunos Cambios
[ 4:00] 5. Casinha Pequenina
[11:32] 6. Tierra, Aire Y Fuego
[ 3:28] 7. Maxi Cuore
[ 3:50] 8. Well, You Needn't
[ 2:12] 9. Anike'
[ 4:12] 10. Casi Sergo
[ 1:28] 11. Blues Para Adamo
[12:11] 12. Imageno Salgueiro
[ 3:37] 13. Luli
[ 5:36] 14. Max...Who

You might call this Argentinean, by way of New York and Italy. Pablo Bobrowicky, a supple-toned guitarist, surrounds himself with a quartet of fellow countryman on most tracks, with saxophonists Bobby Watson and a few others substituted on some. The guitarist picks his ax like a horn, which is particularly effective on the two pieces by Thelonious Monk. Bobrowicky had a hand in writing most of the tunes, which display a decidedly Latin rhythm. The few tracks with vocals might remind the listener a tad of Joao Gilberto, but there is a little bit more adventurousness to occasionally be found. The material sometimes lags, making it difficult for much of it to rise above the ordinary. Bobby Watson's talents are largely wasted on the three tunes in which he participates. Bobrowicky possesses a clear tuneful tone that works better elsewhere. As it is, there is a pleasant quality to much of his playing and even a moment or two that rises to the occasion. ~Steve Loewy

South Of The World

---

Mary Lowe - Jazz Diva

Bitrate: MP3@320K/s
Time: 43:24
Size: 99.4 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[2:37] 1. Let's Face The Music And Dance
[3:35] 2. Ain't Misbehavin'
[2:34] 3. M Get Happy
[3:15] 4. Can't Help Loving That Man Of Mine
[3:03] 5. Night And Day
[2:04] 6. This Can't Be Love
[3:15] 7. They Can't Take That Away From Me
[3:16] 8. The Tender Trap
[2:36] 9. It's Only A Paper Moon
[2:37] 10. L-O-V-E
[3:17] 11. Bewitched, Bothered And Bewildered
[5:24] 12. Orange Coloured Sky
[2:50] 13. Come Fly With Me
[2:53] 14. Secret Love

The first song on Mary Lowe's new album will be sure to delight both diehard jazz fans and those not terribly familiar with the nuances of the genre. In fact, the first song, a cover of "Let's Face the Music and Dance," is a beautifully orchestrated piece of art. The jazz numbers performed on this album are riveting, nuanced and rather impressive. Like listening to the soundtrack of a professional play staged during the early 20th century, Jazz Age, this album is a success. Lowe's voice is perfectly suited to perform the sweeping jazz numbers she takes on in Jazz Diva. Mary Lowe's Jazz Diva is a great jazz album, and is a great way to introduce new fans to the remarkable jazz genre. ~Susie Kopecky

Jazz Diva

---

Clairdee - Destination Moon

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 43:53
Size: 101,1 MB
Art: Front

(3:56)  1. When Lights Are Low
(3:46)  2. Star Eyes
(5:01)  3. Tonight I Shall Sleep With a Smile On My Face
(4:06)  4. I've Got the World On a String
(5:58)  5. My Future Just Passed
(3:16)  6. They Can't Take That Away from Me
(2:53)  7. Moonglow
(4:11)  8. Time After Time
(3:56)  9. East of the Sun and West of the Moon
(4:13) 10. Destination Moon
(2:32) 11. Beautiful Friendship

If a singer chooses to perform a program of standards in a laid back, relaxed manner, the vocalist had better have the chops to sustain slow tempos because there's nowhere to hide. One very fine singers now working out of the San Francisco area, Clairdee, pulls it off going away. With her husky, deep toned contralto, she runs through a musical agenda of eleven standards and near standards. All the usual adjectives rightfully apply to Clairdee's voice and delivery lush, velvet, smooth, sensuous and romantic. If one is listening to this with their significant other, the message is delivered very quickly to turn the lights down low and settle in for amorous activities along with some good listening. Clairdee brings to her interpretations of these gems from the Great American Songbook a feeling for jazz coupled with much more than a small breath of fresh air, but also a heavy dose of musical imagination with sensitivity. She gets plenty of help from the very good musicians who join her in the studio. 

On the title tune "Destination Moon" the opening measures by bassist John Wiitala provides the thematic framework for Clairdee and pianist Ken French to follow. Wiitala has worked with other San Francisco-based vocalists like Cathi Walkup. There's a Latin tinged rendition of "Star Eyes" that is one of the highlights of the album. Here Clairdee shows her ability to be soft and tender despite the pounding Latin beat. One of the few moments of swinging animation comes on "Beautiful Friendship" where Clairdee unpacks her scatting, but goes about in it a way so as not to override the whimsical ambience she creates with this CD. Dmitri Matheny's flugelhorn is used sparingly on this set. But he engages in a pleasant give and take with Clairdee on "I've Got the World on a String". With this album, Clairdee establishes her credentials as one of the more lyrical vocalists on today's scene. Destination Moon is highly recommended. ~ Dave Nathan  http://www.allaboutjazz.com/destination-moon-clairdee-declare-music-review-by-dave-nathan.php
 

Personnel: Clairdee - Vocals;  Ken French - Piano;  Eddie Marshall - Drums;  John Wiitala – Bass;  Dimitri Matheny - Flugelhorn

Destination Moon

---

Steve Kuhn Trio - Looking Back

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 59:24
Size: 136,4 MB
Art: Front

(7:05)  1. Looking Back
(5:44)  2. The Duke
(5:56)  3. How Insensitive
(7:26)  4. Stella By Starlight
(8:44)  5. Alone Together
(5:09)  6. Gee Baby, Ain't I Good To You
(6:02)  7. Baubles, Bangles And Beads
(3:58)  8. Zingaro
(5:17)  9. Will You Still Be Mine
(3:58) 10. Emmanuel

Steve Kuhn is in a fun-loving mood on this trio date from 1990, accompanied by bassist David Finck and drummer Lewis Nash. His one original of the session, "Looking Back," is full of humorous moments in a driving post-bop setting, and his lagging a bit behind the beat while giving Dave Brubeck's "The Duke" a bit of an oriental sound at times is almost tongue-in-cheek. 

But not everything is played with a twinkle in his eye; "Stella by Starlight" is lush and dramatic, as is Michel Colombier's pretty ballad "Emmanuel." Kuhn captures the droll mood of the golden oldie "Gee Baby, Ain't I Good to You" with a campy, almost country-flavored approach. This is an outstanding date by a veteran musician who's always deserving of wider recognition for his efforts. ~ Ken Dryden  http://www.allmusic.com/album/looking-back-mw0000262601

Personnel: Steve Kuhn (piano); Lewis Nash (drums).

Looking Back

---

Ann Armstrong & Steve Hughes - I Go To Pieces

Styles: Vocal, Folk
Year: 1990
File: MP3@320K/s
Time: 66:07
Size: 153,2 MB
Art: Front

(3:54)  1. Reasons for Leaving
(3:37)  2. Lee's In Love
(2:41)  3. Just Dance
(3:40)  4. Free Ride & The Fat Lady
(3:46)  5. Texas Moon
(4:31)  6. Caress Me Baby
(4:25)  7. Heart Full of Ashes
(4:13)  8. I Go to Pieces
(4:28)  9. You Won't Call
(3:11) 10. Crazy
(3:03) 11. Built For Comfort
(4:00) 12. River Run
(5:33) 13. I Want You
(4:48) 14. Love Me
(3:37) 15. Listen to the Radio
(3:07) 16. Gone So Far
(3:24) 17. Key To the Highway

I Go To Pieces, the debut for Ann Armstrong and Steve Hughes on HEADS UP, gained them international attention. Radio and press in the U. S. and from as far away as Poland and Hong Kong was then and remains now very favorable. I Go To Pieces landed Ann and Steve a feature on Tom Bodett's "End Of The Road Show" that aired in 145 cities. The international talent weekly Performance wrote: "This is the kind of music you can listen to anywhere, but particularly in Texas, when you're in your car on the endless highway with no scenery around but a few city signs posting populations of 350. 

It's songs about the Texas moon, listening to the radio, being in love, going to pieces and wanting to escape it all on the highway." Craig Allan of KERA expressed similar sentiments in the liner notes of I Go To Pieces, adding: "Think about an album you liked the first time you heard it and still like after years of listening. What are some of the aspects they have in common? I'll bet you could narrow it down to just three things: great singing and playing, great songwriting, and no gimmicks! Ann Armstrong and Steve Hughes have been making this sort of enduring music in Texas for years now." http://www.concordmusicgroup.com/albums/i-go-to-pieces/

Personnel: Ann Armstrong (vocals, guitars), Steve Hughes (vocals, flute, harmonica, thumb piano), Maurice Anderson (steel guitar), Glen Kostur (baritone saxophone), Royce Chambers (saxophone), Lee Arden (bass), Steve Babcock (drums), Martin Walters (percussion), Emilie Aronson (background vocals).

I Go To Pieces

---