Vanessa Rubin - Vanessa Rubin Sings

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 48:44
Size: 112,1 MB
Art: Front

(3:37)  1. Our Love is Here to Stay
(5:10)  2. It's Probably Me
(4:30)  3. Being Green
(4:22)  4. All For One
(4:45)  5. My Ship
(3:07)  6. Seven Days
(3:36)  7. Once Upon a Summertime
(4:12)  8. Close Enough For Love
(3:07)  9. Morning
(2:54) 10. Unless It's You
(5:27) 11. Black Coffee
(3:52) 12. His Eye Is on the Sparrow

Vanessa Rubin has a lovely voice, but rarely wanders much from the melody. Since many of the songs that she performs on this Novus CD have already been done definitively dozens of times by others (such as "Our Love Is Here to Stay," "My Ship," "Morning," and even "Being Green"), the value of the release is not as high as it should be. Rubin does contribute new lyrics to Wayne Shorter's "Speak No Evil" (renamed "All for One"), her singing is heartfelt on "His Eye Is on the Sparrow," and Steve Turre's four appearances (on trombone and conch shells) are a major asset. But why revive "Black Coffee" (another song that has already been done perfectly) with its self-pitying attitude and dated references to cigarettes. ~ Scott Yanow  http://www.allmusic.com/album/vanessa-rubin-sings-mw0000179695

Personnel: Vanessa Rubin (vocals); Steve Turre (trombone, conch shells); Toots Thielemans (harmonica); Michael Lang (piano); Oscar Castro-Neves (acoustic guitar); Kevin Eubanks, Paul Jackson, Jr. (guitar); Bob Hurst, Dave Carpenter (bass); Marvin "Smitty" Smith, Alex Acuna (drums); Morgan Ames, Clydene Jackson, Darlene Koldenhoven, Jim Gilstrap (background vocals).

Vanessa Rubin Sings

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Richie Cole - Kush: The Music of Dizzy Gillespie

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 57:14
Size: 131,4 MB
Art: Front

(5:34)  1. Be-Bop
(6:39)  2. You Go To My Head
(5:33)  3. Birk's Works
(5:17)  4. I Waited For You
(7:28)  5. Kush
(3:52)  6. Salt Peanuts
(5:25)  7. Con Alma
(5:57)  8. A Night In Tunisia
(2:44)  9. This Is The Way
(8:41) 10. Manteca

Altoist Richie Cole makes a full-fledged comeback on this fairly inspired release. He performs nine Dizzy Gillespie compositions (plus "You Go to My Head" which was actually co-written by Haven Gillespie) while joined by groups ranging from a two-guitar trio to a 13-piece band, all arranged in colorful fashion by Bob Belden. In addition to Cole, fellow altoist Paquito D'Rivera battles it out on "Kush" and plays some excellent clarinet on "Salt Peanuts" while trumpeter Jack Walrath has a few spots. other highlights include "Be-Bop," "Birk's Works," "A Night in Tunisia" and "Manteca." ~ Scott Yanow  http://www.allmusic.com/album/kush-the-music-of-dizzy-gillespie-mw0000177958

Personnel: Richie Cole (tenor saxophone); Paquito d'Rivera (alto saxophone, clarinet); Roger Ingram, Tony Kadleck, Alan Rubin, Jack Walrath (trumpet); John Clark (French horn); Sam Burtis (trombone); Douglas Purviance (bass trombone); Earl McIntyre (bass trombone, tuba); Kevin Hayes (piano); Vic Juris, Fareed Haque (guitar); Peter Washington (bass); Carl Allen (drums); Ray Mantilla (percussion).

Kush: The Music of Dizzy Gillespie

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Kat Edmonson - Way Down Low

Styles: Vocal, Folk
Year: 2012
File: MP3@320K/s
Time: 63:09
Size: 144,9 MB
Art: Front

(2:59)  1. Lucky
(3:22)  2. I Don't Know
(4:45)  3. What Else Can I Do?
(6:55)  4. I Just Wasn't Made For These Times
(3:27)  5. This Was The One
(3:41)  6. Champagne
(7:15)  7. Whispering Grass
(4:46)  8. I'm Not In Love
(3:04)  9. Long Way Home
(4:49) 10. Nobody Knows That
(4:08) 11. Hopelessly Blue
(6:15) 12. I Don't Know (Reprise)
(4:17) 13. Bottom of Your Heart
(3:20) 14. 'S Wonderful

Branching away from standards on her second album Way Down Low, Austin-based jazz vocalist Kat Edmonson also expands her musical worldview, going beyond the sophisticated cabaret of her 2009 debut Take to the Sky and creating a breezy neo-tribute to the swinging '60s. That was the decade that produced Brian Wilson's "I Just Wasn't Made for These Times," one of the few covers on Way Down Low and a sentiment that applies to Edmonson but in a different way. Where the Beach Boy was pining for the days before rock & roll, Edmonson would certainly feel more comfortable in either the '60s or '50s, where bossa nova, swing, and pop mingled happily, as they do here. Certainly, these sounds give Way Down Low a distinctly retro vibe, but Edmonson isn't living in the past, she's pledging allegiance to a tradition, a tradition she finds flexible enough to refashion for modern times. 

And Kat Edmonson is a modern girl after all, she funded the production of Way Down Low via Kickstarter, a move that gave her artistic freedom and professional production, taking full advantage of those two elements. Way Down Low is rich and varied, as are Edmonson's girlish vocals, which never succumb to cloying sweetness or stereotypical scatting. She's nimble and creative within the boundaries of her chosen traditions, which is why Way Down Low feels simultaneously fresh and timeless. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/way-down-low-mw0002323772

Way Down Low

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Ramsey Lewis - Goin' Latin

Styles: Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 37:21
Size: 86,2 MB
Art: Front

(4:03)  1. Hey Mrs. Jones
(3:09)  2. Summer Samba
(3:28)  3. 1, 2, 3
(2:59)  4. Free Again
(3:45)  5. Down By The Riverside
(4:22)  6. Blue Bongo
(3:19)  7. I'll Wait For You
(3:08)  8. Function At The Junction
(3:13)  9. Spanish Grease
(2:36) 10. Lara's Theme (Somewhere My Love)
(3:12) 11. Cast Your Fate To The Wind

In 1966, Ramsey Lewis changed up his winning live piano trio format at Cadet to include a big band. Produced by Esmond Edwards and conducted and arranged by Richard Evans, Wade in the Water was a surprise hit; it's title track reached number 19 on the pop chart (ahhhhh, the days of great AM radio when such a thing was possible). So Lewis had no need to rock the boat all that much on this follow-up, and used the same team for Goin' Latin. The boogaloo craze was taking over the East Coast at the time, and while Lewis was still rooted in Chicago, he got around on tour. Edwards and Evans brought Lewis' great trio (with Cleveland Eaton on bass and Maurice White on drums) again, and augmented the proceedings with horns, percussion, electric guitar, and even strings. The result is an album that is every bit as strong as its predecessor. Evans' arrangements and bottom-heavy soulful sound mix well with Lewis' indulgence in bossa nova, discotheque boogaloo, and Latin soul-lite on this set. The set's opener, "Hey Mrs. Jones," is a I-IV-V blues progression layered with wild bongos and congas in tight boogaloo fashion; there is also a small string section playing the changes and the horns playing the vamp. It's heavy, fat, and smokin', and sets the tone well.

Other notables on this set are Lewis' killer version of "Function at the Junction," with big brassy horns playing the intro filled by congas before the trio enters with its trademark funky soul-jazz where gospel, blues, and jazz all meet on the corner and clap their hands, and the not so subtle remake of another gospel tune (which didn't score on the charts), "Down by the Riverside." The latter number may not have a ton of imagination, but Evans gets miles out of it in his charts. It's fast, furious, and joyous in its groove and in its way superior to "Wade in the Water." As is typical of Lewis from the period, there are a couple of ballads as well, but they only partially work here. While the Latinized version of "Lara's Theme (Somewhere My Love)" works well, the syrupy bossa-esque "I'll Wait for You" falls flat. 

The album ends on two finely imaginative tracks. First is the taut Puerto Rican-Cubano jam "Spanish Grease," which takes Nuyorican boogaloo and rubs it up against clave, montuno, and blues with an absolutely killer horn chart. The last is a very unique reading of "Cast Your Fate to the Wind," which begins as a discotheque boogaloo, layers strings into the melody, and undercuts the rhythmic lines with an army of congas playing midtempo and Lewis prettying up the middle with his own trio. The horns accent the strings in the codas and then Lewis brings it home in the solo, grinding it into rich, greasy soul-jazz. Goin' Latin may have been a fad record, but in the 21st century it holds up well. ~ Thom Jurek  http://www.allmusic.com/album/goin-latin-mw0000534207

Personnel: Ramsey Lewis (piano); Maurice White (drums)

Goin' Latin

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Red Richards Quartet - Swing Time

Bitrate: MP3@320K/s
Time: 39:05
Size: 89.5 MB
Styles: Swing, Easy Listening
Year: 1993
Art: Front

[3:02] 1. Ounce To The Bounce
[6:27] 2. Once In A While
[6:31] 3. Black Butterfly
[5:21] 4. I Miss You
[4:07] 5. Them There Eyes
[4:02] 6. Soft Buns
[5:09] 7. There Will Never Be Another You
[4:21] 8. Go Red

Swing Time is a pleasant, if unspectacular, outing by a group of competent jazz veterans, all of whom have spent most of their jazz lives as sidemen, with only an occasional visit to the recording studio as leader. This is Richards' third trip for the German company Jazz Point, representing a significant portion of his recorded output as leader. In addition to his pianistic contributions, Richards sings on two cuts: "Once in a While" and "Them There Eyes." Again, pleasant interludes, but nothing out of the ordinary, as Richards warbles in his old-fashioned style, reminiscent of one of Jay McShann's soirees into vocalizing. Another veteran who gets a lot of work on the album is tenor sax man George Kelly, best known for his work with the Savoy Sultans — first with Al Cooper's original group, then 40 years later when they were led by Panama Francis. Kelly's laid-back, lightly swinging sax prevails throughout this session, and is best summed up on "There Will Never Be Another You." The highlight of the session is the Richards/Kelly collaboration on Duke Ellington's "Black Butterfly," in which Kelly's tenor sounds a lot like Benny Carter's alto. The outing ends with a musical cheer for Richards, "Go Red," composed by Kelly Owens, who worked with Big Maybelle and other jump blues artists. This album is a pleasing testimonial to the contributions of performers who have trod the lesser-lit lanes of jazz.

Swing Time

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Kathy Wade - You Got The Magic

Bitrate: MP3@320K/s
Time: 41:53
Size: 95.9 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[4:08] 1. I Go Crazy
[4:08] 2. What's In It For Me
[4:17] 3. You Got The Magic
[5:18] 4. Never Thought I'd Be With You
[3:32] 5. The Very Thought Of You
[3:56] 6. My Love
[5:37] 7. Spring Can Really Hang You Up The Most
[3:39] 8. Spice Of Life
[3:13] 9. Time To Say Goodbye
[4:01] 10. Them There Eyes

Kathy Wade, 2004 City Beat CEA Best Jazz Artist, #1 Jazz and Blues Vocalist on MP3.com; #1 MP3.com Jazz Vocal 'Time To Say Good-bye' featured on Sci-Fi network's 'First Wave' sound track and featured in Essence Magazine, , an award winning international entertainer whose "rich interpretative skills as a song stylist extraordinaire" captures the imagery of emotion on her debut compact disc You Got The Magic. (DAKA Music)

Magic, recorded in Los Angeles, accents Kathy's "multi-octave contralto of effervescent energy" with world renowned musicians including Gerald Albright, Harvey Mason and GRAMMY nominated Arranger, Producer/Pianist, Bill Cunliffe. Kathy's "expressive voice can extract the essence out of a song the way a magician pulls a rabbit out of a hat" on her upcoming 2005 release "Kathy Wade, Klassic" and as revealed on the video counterpart of her debut single, Someone's In Love, awarded an EMMY, a TELLY and three International Film and Television Festival awards.

You Got The Magic

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Eddy Arnold - Sometimes I'm Happy, Sometimes I'm Blue

Bitrate: MP3@320K/s
Time: 29:22
Size: 67.3 MB
Styles: Vocal, Country
Year: 1964/2004
Art: Front

[2:22] 1. Lonely People
[2:14] 2. Sometimes I'm Happy
[2:29] 3. It Only Hurts For A Little While
[2:06] 4. (I Wanna Go Where You Go, Do What You Do) Then I'll Be Happy
[2:33] 5. No Other Arms, No Other Lips
[2:58] 6. She's Funny That Way
[2:05] 7. After Loving You
[2:28] 8. Smile
[2:43] 9. The Minute You're Gone
[2:31] 10. Laughing On The Outside
[2:22] 11. A Little Bitty Tear Let Me Down
[2:26] 12. Roamin' Thru The Countryside

Eddy Arnold's SOMETIMES I'M HAPPY, SOMETIMES I'M BLUE (LPM-2909/LSP-2909) was released by RCA Victor in May of 1964. There are no charting singles on this LP, which also didn't register on Billboard's album charts. The guitar of producer Chet Atkins can be heard throughout this set of polished Nashville studio tracks. Also present at times are a vocal chorus and strings.

Eddy's voice is showcased to best effect on "It Only Hurts," "A Little Bitty Tear" and the title cut "Sometimes I'm Happy," which has worried lyrics wedded to an upbeat backing. "Little Bitty Tear" is another example of a sad verse contrasted by a tempo and arrangement that belie its regretful story. The closer ("Roamin' Through the Countryside") is unabashedly blissful. Here, Arnold basks in the warmth of good memories, and in the joy of marrying his boyhood sweetheart. ~ Annie Van Auken

Sometimes I'm Happy, Sometimes I'm Blue

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Lennie Tristano - Lennie Tristano/The New Tristano

Bitrate: MP3@320K/s
Time: 76:28
Size: 175.1 MB
Styles: Bop, Piano jazz
Year: 1994/2005
Art: Front

[ 3:30] 1. Line Up
[ 4:47] 2. Requiem
[ 3:28] 3. Turkish Mambo
[ 4:30] 4. East Thirty-Second
[ 5:42] 5. These Foolish Things
[ 5:21] 6. You Go To My Head
[ 6:25] 7. If I Had You
[ 6:02] 8. I Don't Stand A Ghost Of A Chance With You
[ 6:10] 9. All The Things You Are
[ 4:30] 10. Becoming
[ 3:25] 11. You Don't Know What Love Is
[ 4:47] 12. Deliberation
[11:38] 13. Scene And Variations Carol Tania Bud
[ 2:17] 14. Lovelines
[ 3:49] 15. G Minor Complex

This anthology combines two major Lennie Tristano albums, Lennie Tristano and The New Tristano; the first nine cuts were done in 1955 and include two trio and two solo numbers, plus five quartet pieces. The quartet tunes include alto saxophonist Lee Konitz and drummer Art Taylor. Tristano's piano solos are more challenging and ambitious on the disc's other six numbers, however; these are unaccompanied solo works recorded between 1960 and 1962, all except "You Don't Know What Love Is" Tristano originals. The variety and sheer amount of ideas, plus the facility of the lines and the overall performances, are impressive. Only the absence of the cut "C Minor Complex" (explained by time restrictions) mars things slightly, but this is a superb presentation of Lennie Tristano's work. ~Ron Wynn

Lennie Tristano/The New Tristano   

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Nina Ferro Meets Joe Chindamo - Tender Is The Night

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 48:46
Size: 114,4 MB
Art: Front

(6:47)  1. Over The Rainbow
(4:50)  2. My Blue Heaven
(5:09)  3. Moon River
(4:02)  4. East Of The Sun
(3:37)  5. Stardust
(5:14)  6. Moonglow
(4:55)  7. Cheek To Cheek
(3:05)  8. Fly Me To The Moon
(5:33)  9. Come Rain Or Come Shine
(5:28) 10. My Foolish Heart

Nina’s collaboration with Joe Chindamo on Tender Is The Night showcases the interpretative genius of both artists. They have produced a sexy, cool, sophisticated and romantic album charged with moment of driving swing. Immaculately recorded in 24 bit digital, Tender Is The Night features ten of the most beautiful standards the world has ever known, which in the hands of these two great artists, sound as fresh and new today as they did when first written. http://www.ninaferro.com/media/tender-is-the-night/

Personnel: Nina Ferro – Vocal; Joe Chindamo – Piano.

Tender Is The Night

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Kenny Davern - Stretchin' Out

Styles: Clarinet Jazz
Year: 2015
File: MP3@320K/s
Time: 41:34
Size: 106,1 MB
Art: Front

(7:33)  1. The Man I Love
(7:10)  2. Summertime
(5:40)  3. Lover, Come Back To Me
(6:07)  4. Love Me Or Leave me
(8:06)  5. (There Is) No Greater Love
(6:55)  6. Chicago Rhythm

This CD reissue is as successful as one would expect from a trio date matching clarinetist Kenny Davern, pianist Dick Wellstood (less than four years before his premature death) and drummer Chuck Riggs. 

Rather than playing tunes from the 1920s or Dixieland standards, the trio jams on five superior standards from the 1930s (including "The Man I Love," "Lover Come Back to Me" and "There Is No Greater Love"), plus the hot 1929 number "Chicago Rhythm." Wellstood's stride piano and Davern's distinctive clarinet always worked well together. ~ Scott Yanow  http://www.allmusic.com/album/stretchin-out-mw0000613619

Personnel: Kenny Davern (clarinet); Dick Wellstood (piano); Chuck Riggs (drums).

Stretchin' Out

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Justine Bradley - Music Of Light

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 49:33
Size: 114,1 MB
Art: Front

(4:38)  1. Music of Light
(4:27)  2. Legacy of Legends
(3:52)  3. When We Met
(4:57)  4. Ultramarine Dreaming
(3:32)  5. Dreambound
(3:07)  6. These Days
(4:25)  7. This Time
(3:54)  8. Your Only Compass
(5:04)  9. Marita
(4:39) 10. Last Request
(6:53) 11. Trust

I am a musician, singer, songwriter, vocal teacher, voice coach, choir director, healer, creative artist etc. Did someone just call me a ‘Rennaisance Woman’?Music has been a pivotal force in my life, as I grew up hearing my parents playing, rehearsing and teaching. It has been my great fortune to be blessed with a deep desire for creative expression which is deeply satisfied by music. This continues to be a life-long journey of discovery and inspiration and I have, on many occasions been utterly grateful to my parents for introducing me to this path. For many generations, my family has been involved with music in one form or another. I enjoy so many differing styles of music, … 

World, Soul, Classical, R&B, Jazz, etc, and am constantly delighted with new discoveries. We are so fortunate to have access to such diversity in these times, and much can be learned from astute listening. For a while I was signed to a publishing company, but I found many aspects of the industry to be creatively stifling and once my advance was recouped, I severed my connection. I remember a conversation with my (then) publisher, when I had just presented him with a swathe of songs composed in the wake of a tumultuous break-up. I told him I couldn’t understand how people without a creative outlet could cope with such times and he said “Dont you understand? That’s YOUR job! You write the songs with which they can identify when they are in a similar position!” http://justinebradley.net/

Music Of Light

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Dave Miller Trio Feat. Rebecca DuMaine - The Consequence of You

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:15
Size: 118,4 MB
Art: Front

(5:28)  1. Beautiful Love
(4:19)  2. Pure Imagination
(4:36)  3. One Note Samba
(4:05)  4. Exactly Like You
(4:29)  5. Down with Love
(3:56)  6. You've Changed
(4:08)  7. Put on a Happy Face
(4:19)  8. The Face That I Love
(4:23)  9. There Will Never Be Another Love
(3:55) 10. They Say It's Spring
(4:56) 11. Too Close for Comfort
(2:36) 12. If I Were a Bell

Rebecca DuMaine’s versatility is reflected in her delivery, subtle phrasing, and controlled intonation. She’s also comfortable in both upper and lower registers; dig her accurate resonant extended tones! 

Over the past 30 years, the Dave Miller Trio has played publicly and privately throughout the San Francisco Bay Area. http://www.summitrecords.com/release/the-consequence-of-you-dave-miller-trio-wtih-rebecca-dumaine/

Featured Artists:  Rebecca DuMaine: vocals/ David Miller: piano/ Mario Suraci: bass/ Bill Belasco: drums

The Consequence of You

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Kaoru Azuma - Footprints In New York

Size: 137,5 MB
Time: 59:13
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz Vocals
Art: Front

01. High Wire (4:53)
02. Confirmation (5:37)
03. Hana & A Flower Is A Lovesome Thing (8:21)
04. Another Yes Or No (7:04)
05. Jungle City New York (4:41)
06. Footprints (5:18)
07. Now's The Time Giant Steps (4:54)
08. Without A Trace (6:32)
09. Along Came Memory (5:23)
10. Turn Out The Stars (6:27)

Kaoru Azuma performed jazz vocal in her hometown of Osaka, Japan. But she realized that to get to the heart of the music, to understand the culture in which it was born and to master the nuances of the language, she had to continue her studies in New York City, the capital of jazz. In 2003, Kaoru enrolled in the jazz studies program at the City College of New York (CUNY), where she became immersed in the study of jazz theory, history, arranging, English diction, improvisation and vocal technique. The melting pot of New York City changed her profoundly; according to Kaoru "it opened my mind and let me know who I am." She discovered herself and had a story to tell through her music.

After receiving her BFA degree from City College, Kaoru began performing in clubs around New York, but the needs of her family have drawn her back to Osaka. The CD, "Footprints in New York," is her dedication and farewell to the city that taught her so much about American jazz.

Footprints In New York

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Fabrizio Bosso - Duke

Size: 139,8 MB
Time: 60:36
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hard Bop, Post Bop
Art: Front

01. I Let A Song Go Out Of My Heart (10:33)
02. Caravan ( 8:01)
03. In A Sentimental Mood ( 8:20)
04. It Don't Mean A Thing (If It Ain't Got That Swing) ( 3:07)
05. Black And Tan Fantasy/Jeep’s Blues (10:54)
06. Solitude ( 9:34)
07. Perdido (10:03)

Italian post-bop trumpet sensation Fabrizio Bosso was born in Turin in 1973. He started playing at the age of five, studying under his father. The young prodigy graduated from the Giuseppe Verdi Conservatory of Turin only ten years later at fifteen. While in school Bosso discovered jazz, playing with a big band and in small combos. Upon graduating he was awarded a scholarship to study at St. Mary's College in Washington, where he continued to pursue his new love of improvisation. Starting in 1993, he garnered a national reputation for his flawless technique and exceptionally personal sound, touring under bandleaders like George Russell, Dave Liebman, and the great Steve Coleman. The next year he won Summertime Jazz's Best Band with his quintet, who were soon to make their recording debut. At the age of 26, Bosso's first album as a bandleader, Fast Flight, came out on Red Records. Impressing critics worldwide, Bosso won the "Miglior Nuovo Talento" (Best New Talent) award, chosen in a survey through the Musica Jazz magazine. His second outing as frontman would be for the Blue Note label in 2007. You've Changed furthered Bosso's reputation as one of the most technically impressive young jazz trumpet talents in the world. ~by Evan C. Gutierrez

Duke

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Ilaria Basile Trio - Gershwin Mood

Size: 101,7 MB
Time: 43:08
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. But Not For Me (5:13)
02. The Man I Love (6:04)
03. Embraceable You (5:30)
04. How Long Has This Been Going On (6:21)
05. A Foggy Day (5:23)
06. Someone To Watch Over Me (6:17)
07. They Can't That Away From Me (3:15)
08. Love Is Here To Stay (5:02)

For recording "LIVE", of these eight songs chosen among the best known, heard and acclaimed compositions of George and Ira Gershwin, Ilaria Basile wanted next to her two musicians of great thickness: Mario Rusca at the piano and, in five of the eight songs, Fabrizio Bosso on trumpet.

Ilaria Basile is a singer who, despite her passion for jazz goes back to adolescence, she performed for many years in situations that have played a leading role, ranging from pop to funk, jazz maturing so solid experience both " live "in the recording studio. Today has found her true vocation and profound, its "Way of Life" in Jazz.

Her voice, her tone, soft, round, supple, the lead in proposing the songs of "tradition", the standards in an increasingly sophisticated and full of sensitivity. Love for new sounds, leading to the continuous inner search that offers not only sought to listeners of "niche", but to all lovers of jazz. Her way of speaking and interpreting make a real "Lady of the Stage" while being always measured in expressing her great technique, it creates a special atmosphere full of pathos. And a pleasure emotions with his voice and with his person full of charm, charisma and a lot of class.

She has worked both as a soloist and as a vocalist, with musicians like Franco Cerri, Enrico Intra, Giulio Visibelli, Roberto Rossi, Emilio Soana, Tony Arco, Marco Mariani, Claudio Fasoli, Lucio Terzano, Marco Vaggi, Massimo Scoca, Silvano Borzacchiello Tony Casuscelli, Teo Ciavarella, Lele Veronesi, Michele Franzini, Carlo Morena, Ferdinand Faraò, Roberto Mattei, Victor White, Vanni Stefanini, Tomelleri Paul, and many others. ~online translation

Gershwin Mood

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Rod Tate - The Emerald Coast

Size: 178,2 MB
Time: 76:48
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. The Emerald Coast (4:14)
02. In It To Win It (5:16)
03. Footprints In The Sand (3:47)
04. Ooo That Smile (6:01)
05. Lovin' You (5:47)
06. Full Moon (5:19)
07. At The End Of The Day (4:47)
08. Red Velvet (6:13)
09. Flirtatious (5:26)
10. Take It In Stride (6:14)
11. Talk To Me (6:26)
12. Priceless (6:03)
13. Rose Pedals, Candlelight & You (5:20)
14. Lover's Retreat (5:47)

This CD was inspired by Rod’s visit to the Emerald Coast, in Destin Florida. While there performing, Rod was completely awed and inspired by the beauty along the coastline. He said, “The coastline oozes with inspiration and the awesomeness of God in creation”.
His hope is that he was able to transfer musically the inspiration, the deep emotion he experienced by walking along the coastline of, “The Emerald Coast”. I f you love beautiful melodies, head bobbin' grooves, romance and soulfulness in your Smooth/Contemporary Jazz this CD was made with you in mind.

Rod Tate is a Saxophonist/Songwriter that performs smooth/contemporary jazz, gospel jazz and R&B, based out of his hometown, St. Louis, MO. Rod is a full time musician that performs primarily as a Solo act.
As a performer he has opened for contemporary jazz group Spyra Gyra, Pieces of A Dream, Chuck Loeb, Bob Baldwin, Marion Meadows, Phil Perry, Ramsey Lewis, Legendary Poet Sonia Sanchez and Lonnie Liston Smith. He has opened for Gospel artist Richard Smallwood and Gospel jazz keyboardist Ben Tankard, comedian /actor Tommy Davidson, Tavis Smiley, as well as, Hall of famer, Ozzie Smith.

Rod was named smooth jazz artist of the month on EchoSmoothJazz.com
Rod was named smooth jazz artist of the month on Whitester Radio-Smoothjazz.com

The Emerald Coast

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Kevin Hassetts A Game - Take Two For Rosa

Size: 114,1 MB
Time: 48:11
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Moonlight In Vermont (3:50)
02. I Thought About You (3:22)
03. Summer Samba (4:32)
04. Do Nothing Till Hear From Me (3:05)
05. I'm Afraid The Masquerade Is Over (4:04)
06. Tangerine (3:31)
07. Autumn Leaves (4:35)
08. I Can't Get Started (4:01)
09. In The Wee Small Hours (3:17)
10. But Not For Me (2:22)
11. Teach Me Tonight (2:50)
12. I've Got You Under My Skin (5:24)
13. For Sentimental Reasons (3:12)

The A Game is a collective of Cheshire based Jazz Musicians whose aim is to provide fresh, live interpretations of Great American Songbook Classics together with sophisticated takes on Contemporary material.

Central to the project are the vocals of Kevin Hassett are the talented keyboard skills of Gary Davies – best known for his long established collaboration with the nationally known “Nearly Dan” and also as a solo performer.

The A Game was originally conceived as a studio project, but the result of this collaboration “Take Two For Rosa” was so well received that the band is now gigging and available for live performance.

The A Game looks to provide a sophisticated atmosphere in which sophisticated people can enjoy themselves and appreciate some very fine music.

Take Two For Rosa

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Steve Kuhn, Gary McFarland - The October Suite

Bitrate: MP3@320K/s
Time: 38:25
Size: 88.0 MB
Styles: Post bop, Piano jazz
Year: 1966/2003
Art: Front

[4:47] 1. Once I Could Have Loved
[6:18] 2. St. Tropez Shuffle
[7:09] 3. Remember When
[7:35] 4. Traffic Patterns
[6:30] 5. Childhood Dreams
[6:03] 6. Open Highway

The October Suite, recorded in 1966, is one of two Gary McFarland chamber music masterworks featuring brilliant pianists. It followed by nearly four years The Gary McFarland Orchestra, Special Guest Soloist: Bill Evans (Verve). In each case, McFarland used economy of instruments and of compositional means to create expansive music that illuminates far beyond the size of the ensemble and the deceptive simplicity of his writing. Three of The October Suite's sections employ a string quartet, the second three a woodwind quartet and a harp. McFarland's settings, rich in beauty and daring, stimulated pianist Steve Kuhn to some of his most incandescent and imaginative playing of the '60s. Bassist Ron Carter and drummer Marty Morell supported him.

McFarland's legacy as a composer and arranger is sadly overlooked. His stunning accomplishments during his one busy decade ended with his death in 1971 at the age of 38. Many of McFarland's albums are unavailable except as used LPs. Kuhn's neglect is equally perplexing and less easily explained, since he is playing at the highest level of his career. Perhaps the long overdue reissue of The October Suite will help bring Kuhn the attention he has long deserved and continues to earn.

The McFarland-Bill Evans collaboration is on CD as a part of Verve's massive Evans boxed set, but it has never been reissued on its own. We may hope that Verve will reach into its vaults for more of the riches in McFarland's discography on the Verve and Impulse labels. ~Doug Ramsey

The October Suite

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Martin Taylor, David Grisman, Acoustic Jazz Quartet - I'm Beginning to See the Light

Bitrate: MP3@320K/s
Time: 59:33
Size: 136.4 MB
Styles: Guitar jazz, Crossover jazz
Year: 1999
Art: Front

[3:59] 1. I'm Beginning to See the Light
[4:21] 2. Autumn Leaves
[5:10] 3. Do You Know What It Means to Miss New Orleans
[4:42] 4. East of the Sun
[4:39] 5. Autumn in New York
[5:43] 6. Makin' Whoopee
[5:25] 7. Lover Man
[4:01] 8. Exactly Like You
[7:04] 9. Willow Weep for Me
[4:18] 10. A Foggy Day
[5:08] 11. Cheek to Cheek
[4:59] 12. Bewitched, Bothered and Bewildered

As one of the prime movers behind the "new acoustic" movement that began gathering speed in the mid-'70s, David Grisman helped usher in a new era of acoustic jazz. With other renegade players like Tony Rice, Richard Greene and Sam Bush, he took an instrument generally associated with bluegrass music (in his case, the mandolin) and turned it to more adventurous uses, often combining the instrumentation and textures of bluegrass with the advanced harmonic structures and rhythms of jazz. He's never completely turned his back on bluegrass, but his primary focus has been on jazz and jazz-derived styles for some time. I'm Beginning to See the Light is a collection of standards recorded in collaboration with guitarist Martin Taylor, bassist Jim Kerwin and drummer George Marsh. The program is pretty predictable, including "Autumn Leaves," "Cheek to Cheek," and "Makin' Whoopee." But the mandolin gives the quartet an unusual texture, and Taylor's playing is always fun to listen to. There's a pervasive gentleness to the group's sound that sometimes borders on soporific, but every time you stir yourself to listen closely, you'll be rewarded. Recommended. ~Rick Anderson

I'm Beginning to See the Light

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Teddi King - The Storyville Sessions 1954-1955

Bitrate: MP3@320K/s

Time: 60:16

Size: 138.0 MB

Styles: Jazz vocals

Year: 2013

Art: Front

[2:45] 1. I Saw Stars

[2:25] 2. Love Is A Now And Then Thing

[2:53] 3. New Orleans

[3:12] 4. The Talk Of The Town

[2:36] 5. I Guess I'll Have To Change My Plan

[2:30] 6. It's All In The Mind

[3:33] 7. Our Love Is Here To Stay

[3:13] 8. Spring Won't Be Around This Season

[2:48] 9. Why Do You Suppose

[3:39] 10. Over The Rainbow

[2:37] 11. This Is Always

[2:42] 12. Fools Fall In Love

[2:58] 13. I Didn't Know About You

[4:06] 14. Old Folks

[3:38] 15. You Turned The Tables On Me

[2:49] 16. Like A Ship Without Sail

[3:16] 17. Something To Live For

[3:26] 18. I'm In The Market For You

[2:22] 19. You Hit The Spot

[2:39] 20. You Can Depend On Me

Twofer: Tracks #1-8, from the 10-inch LP “Miss Teddi King” (Storyville LP 314). Teddi King (vcl), Ruby Braff (tp), Jimmy Jones (p), Milt Hinton (b), Jo Jones (d). Recorded in New York City, July 1954. Tracks #9-20, from the 12-inch LP “Now in Vogue” (Storyville LP 903). Teddi King (vcl), Bob Brookmeyer (v-tb), Billy Taylor (p), Milt Hinton (b), Osie Johnson (d). On #9,10,11 & 15, Nick Travis (tp), Gene Quill (as) and Sol Schlinger (bs) added. Recorded in New York City, October 1955.

Possibly because of the sheer perfection of her vocal technique, Teddi King (1929-1977) may not have immediately seemed to some to be a jazz singer. But, in a career that included work with such piano luminaries as Nat Pierce, George Shearing and Dave McKenna, she won herself a small but discerning following as one of the best.

Influenced by such outstanding jazz singers as Billie Holiday, Sarah Vaughan and Ella Fitzgerald, whom she did not resemble vocally, and Lee Wiley, Mabel Mercer and Mildred Bailey, whom perhaps to a slight degree she did, she was blessed with near-perfect intonation, impeccable phrasing and a voice of crystalline beauty and freshness. All this is evident on these early Storyville sessions, where she is backed by front-line jazz talent in Ruby Braff, Nick Travis, Bob Brookmeyer, Gene Quill, pianists Jimmy Jones and Billy Taylor and sterling drummers Jo Jones and Osie Johnson. In these intimate, subtly calibrated sessions she sings with a warmth and delicacy no less forceful for being presented with elegance, sophistication and a complete absence of superfluous gesture or vocal sleightof-hand.

It should surprise nobody that she held Sinatra as the epitome of what a popular singer should be and he, with his frank jazz awareness, was as close to perfection in terms of phrasing as any singer could aspire to.

The Storyville Sessions 1954-1955

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