Monty Alexander - Uplift

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 63:01
Size: 144,7 MB
Art: Front

(6:18)  1. Come Fly With Me
(5:53)  2. One Mint Julep
(6:44)  3. Renewal
(5:34)  4. Sweet Georgia Brown
(8:58)  5. I Just Can't See for Lookin'
(7:37)  6. Django
(6:53)  7. Body and Soul
(7:07)  8. Hope
(1:45)  9. Home
(6:07) 10. Fungii Mama

Virtually everyone who plays with pianist Monty Alexander loves the challenge of keeping up with his mischievous music-making and sudden changes in direction. Then there are those quotes splashes of everything from bugle calls and nursery rhymes to Duke Ellington and "Meet the Flintstones" that challenge the listeners' repertoire, as well as adding delight and surprise to each track. Who else, for instance, would begin "Sweet Georgia Brown" with a tongue-in-cheek reference to the opera "Carmen" and make it work? Uplift is a collection of 10 tunes, three of them Alexander's own, that producer John Lee calls "a masterpiece." That's a tough call to make, given Alexander's 62 fine recordings as leader over his five-decade career; in fact, Montreux Alexander (MPS, 1976) is such a desert island disc for many jazz lovers that it was reissued in a 30th anniversary edition. Certainly there are few living pianists who can match his imaginative and joyous approach, and his harmonic risk-taking; unlike many players who shift things around just for the sake of making a change, Alexander's innovations are always respectful of the melody. Not many are able to bring such new life to well-worn standards; in his blues-infused, infectious swing, he recalls the late master Gene Harris.

Here, Alexander is backed by his superb long-term bassist, Hassan Shakur, and drummer Herlin Riley, who has recorded numerous CDs with Wynton Marsalis, among others. From the bright, finger-popping opening "Come Fly with Me" (Alexander's salute to Frank Sinatra, an early fan and sponsor), they provide supple support for every detour, helping the whole trio rock like mad. Riley's killer solo on "Sweet Georgia Brown" is one of the things that make it the standout track it's nothing less than a jazz juggernaut. Or, maybe, the highlight is "Body and Soul," which Alexander hitches to a bright waltz tempo and takes to a whole new territory. Others will pick the driving "One Mint Julep," the soulful "Django," or the lush Jamaican landscape of the last three tracks. In any case, this is an exceptional collection, which also crackles with that special, open energy only a live performance can deliver. Uplift is an apt title, since that's precisely what this music does. ~ Dr Judith Schlesinger  http://www.allaboutjazz.com/uplift-monty-alexander-jazz-legacy-productions-review-by-dr-judith-schlesinger.php

Personnel: Monty Alexander: piano; Hassan Shakur: bass; Herlin Riley: drums; Fritz Landesbergen: drums (1, 6).

Uplift

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Michael Marc - Acoustic Guitar

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 72:02
Size: 166,1 MB
Art: Front

(2:32)  1. I Will Always Love You
(3:26)  2. Marry Me
(4:47)  3. The Girl from Ipanema
(4:31)  4. The Shadow of Your Smile
(3:54)  5. Old Man River
(4:31)  6. I've Got You Under My Skin
(4:09)  7. All the Things You Are
(4:35)  8. Imagine
(3:38)  9. Perfidia
(4:20) 10. Corcovado (Quiet Night of Quiet Stars)
(4:36) 11. What Are You Doing the Rest of Your Life?
(3:53) 12. Smile
(3:41) 13. Moonlight in Vermont
(3:41) 14. Days of Wine and Roses
(4:10) 15. You Don’t Know What Love Is
(3:26) 16. It Never Rains in California
(2:39) 17. San Francisco (If You're Going To)
(3:04) 18. I Can't Make You Love Me
(2:20) 19. Jesu, Joy of Man's Desiring

Michael Marc Zanabili was born in Heidelberg, Germany, where he was given his first opportunity to show his musical talent at a school performance at the age of eight, in front of an audience of 200 people. This early success led to an eager decision to become a guitarist. He made his living by performing in clubs and at private parties. Michael began to travel to Spain to attend classes with John Williams. In France he worked with such masters as Manuel Barrueco and Eduardo Falu. In 1986 Michael graduated from the prestigious "Hochschule für Musik des Rheinlandes" in Cologne, Germany and started to give concerts throughout Europe.

Michael Marc's playing is built on emotions and feelings rather than structures and tradition, something that always troubled him during his classical studies in Germany. Working with Barrueco and Falu confirmed his belief to listen to your heart first. "You can know everything about music, but if you don't feel it, the result will not be music"

On one of his many trips, Michael fell in love with San Diego, CA and decided to move there. He gave up his life in Germany and came to America with little more than his guitar in his hands. Continuing to create his own style of guitar music, which is influenced by Classical, Jazz and Flamenco, he started to record his first album: Plaza de la Libertad, a tribute to his "place of freedom".  Michael treats every string with an individual respect, to draw from its unique sound, never descending into a cloud of undefined sound waves. Instead he translates subtle feelings into music, giving importance to every single note and thus developing an intimacy with his audience. The guitar is used as an instrument to reveal every emotional phase so that no listener could resist its passionate charm. The 20th Century Guitar Magazine called it: "A stunning fusion of Acoustic, New Age, Jazz and Spanish classical guitar wizardry... Michael Marc's classical and Flamenco guitar techniques are dazzling and totally engaging." http://arrowrec.com/michael/

Acoustic Guitar

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Ray Charles - Genius & Friends

Styles: Vocal, R&B
Year: 2005
File: MP3@320K/s
Time: 57:41
Size: 132,4 MB
Art: Front

(4:00)  1. Ray Charles & Angie Stone - All I Want To Do
(3:48)  2. Ray Charles & Chris Issak - You Are My Sunshine
(5:08)  3. Ray Charles & Mary J. Blige - It All Goes By So Fast
(3:41)  4. Ray Charles & Gladys Knight - You Were There
(4:28)  5. Ray Charles With Ruben Studdard & The Harlem Gospel Singers - Imagine
(3:42)  6. Ray Charles & Leela James - Compared To What
(3:45)  7. Ray Charles & Diana Ross - Big Bad Love
(4:43)  8. Ray Charles & Idina Menzel - I Will Be There
(4:46)  9. Ray Charles & George Michael - Blame It On The Sun
(4:40) 10. Ray Charles & John Legend - Touch
(5:10) 11. Ray Charles & Patti LaBelle & The Andrae Crouch Singers - Shout
(4:13) 12. Ray Charles & Laura Pausini - Surrender To Love
(2:32) 13. Ray Charles & Willie Nelson - Busted [Live]
(2:59) 14. Ray Charles & Alicia Keys - America The Beautiful

Atlantic/Rhino's 2005 Genius & Friends is the end result of a project Ray Charles initiated a few months before his death in June 2004. According to James Austin's liner notes, Charles called Austin in December of 2003, asking if he could find the masters to an unreleased duets record Ray recorded in 1997 and 1998. Austin found the tapes, but Charles was too sick to work on them, so after his passing  and after his final studio album, the duets record Genius Loves Company, became a number one hit in August of 2004 Atlantic/Rhino decided to finish off the project, bringing in producer Phil Ramone to oversee the completion of the album. This included bringing in singers to record their parts, since apart from two tracks  a 1994 duet with Diana Ross on "Big Bad Love" and a live 1991 version of "Busted" with Willie Nelson (taken from the television special Ray Charles: 50 Years in Music) these are all studio constructions, with vocalists duetting with a previously recorded Ray. 

While not quite the monstrosity it could have been posthumous duets albums like this always bear an unsettling ghoulish undertow Genius & Friends is also not a particularly good album either. This isn't because the pairings are ill conceived  apart from the woefully outmatched American Idol winner Ruben Studdard on "Imagine" (which boasts perhaps Ray's best vocal performance on this record), there's nobody here who doesn't hold his or her own, and Ramone has skillfully edited the new recordings with the existing tapes so it sounds like they were recorded at the same time, even if it rarely sounds as if the vocalists were in the same room together. Rather, the problem is that the productions are caught halfway between '90s adult contemporary and modern neo-soul, sounding too slick and polished to really be memorable. It's pleasant enough and it's top-loaded, too, with the duets with Angie Stone, Chris Isaak, and Mary J. Blige being among the best cuts but it's not as relaxed or appealing as Genius Loves Company, which had the feeling of being a real duets album. This feels like what it is a professional studio creation. Not a terrible thing per se, but not something that makes for a good album, either. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/genius-friends-mw0000381429

Personnel: Ray Charles (vocals, piano); Chris Isaak, George Michael, Idina Menzel, John Legend, Laura Pausini, Alicia Keys, Mary J. Blige, The Andraé Crouch Singers, Patti LaBelle, Angie Stone, Ruben Studdard, Willie Nelson, Gladys Knight, Diana Ross, Leela James (vocals); Rodney "Cortada" Alejandro, Darin "Zone" McKinney, Jamshied Sharifi, Aaron Zigman (programming).

Genius & Friends

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Anita Wardell - Why Do You Cry?

Styles: Jazz, Vocal
Year: 2008
File: MP3@256K/s
Time: 47:41
Size: 87,7 MB
Art: Front

(6:57)  1. Ive Never Been in Love Before
(4:22)  2. September in the Rain
(4:36)  3. Why Do You Cry?
(4:17)  4. Twisted
(3:05)  5. In Love in Vain
(7:09)  6. Do You Know What It Means
(4:26)  7. Bye Bye Blackbird
(3:50)  8. Oh What a Beautiful Morning
(4:22)  9. Duke Ellington s Sound of Love
(4:33) 10. Deep Purple

Jazz vocalist Anita Wardell has been acclaimed for the unique artistry she brings to scat and be-bop singing. Raves from peers and critics alike have cemented her reputation as one of Britain 's finest vocalists.

Born in Guildford, UK, Anita emigrated to Australia with her family as child. Enraptured by movie musicals on TV, she soaked up the classics by Rodgers and Hammerstein and Cole Porter. Equipped with a portable tape player, she would record the songs off the set and listen to them countless times. She often explored her father's collection of big band albums by Duke Ellington, Count Basie and many more. During her teens, works by the likes of Clifford Brown, Miles Davis and Charlie Parker exposed her to the complexities of modern jazz while she learned her vocal craft from greats like Ella Fitzgerald, Mark Murphy, Carmen McRae, Betty Carter and Jon Hendricks. Attending Adelaide University in South Australia, Anita worked toward a performance in jazz and improvised music and worked regularly on the Australian jazz circuit.

 Performing with a host of local and international artists, including American saxophonist Richie Cole at the Kiama Jazz Festival and supporting the legendary Sarah Vaughan at the Sydney Opera House, her classroom studies were supplemented by real-life experience. Her recording career began when she joined the Adelaide Connection, formed in 1979-80. Founded by Adelaide native John McKenzie, who directed the group until the early 90s, the Connection enjoyed visits from distinguished guest artists and arrangers like Dr. Kirby Shaw, Phil Mattson, Don Burrows and James Morrison. Anita joined the group at its inception and credits the experience for teaching her how to "blend in with other singers and really listen!" Adelaide Connection recorded two albums (Makin' Whoopee and Nice and Easy) and toured throughout Australia. Anita returned to London in 1989, continuing her studies at the Guildhall School of Music and Drama, completing a yearlong course in jazz and studio music. Now touring extensively throughout the UK and Europe, Anita played festival and club dates with appearances at the venerable London jazz club Ronnie Scotts, the Royal Festival Hall, National Theatre and a yearly stint at the Paradise Festival in Cyprus each September.

In 1995, Anita went into the studio with pianist Liam Noble to record an album's worth of material with the hopes of finding a label to release it. After shopping the CD around, they signed a deal with FMR Records. Why Do You Cry? was released to great praise. Pioneer Mark Murphy proclaimed Anita, "a gift from Australia", adding "what hits me is how expressive her ballad singing is. Then she has the courage to scat a ballad or two, not unlike a young lady disciple of the Ben Webster school." Singer Norma Winstone praises her "!unexpected vulnerability, which makes her reading of the ballads both beautiful and touching. Her honesty shines in this well-chosen collection of songs!" Jazzwise Magazine called her "energetic and inventive" while The Guardian proclaimed her "a model of the Jazz singer's art." Nearly universal praise was lavished for her timing, clarity, improvisational skills and emotional resonance. A BBC documentary for Channel Four found Anita in the company of Kurt Elling and Dee Dee Bridgewater in a salute to Ella Fitzgerald entitled "Jazz Heroes". "I really enjoyed working on the Ella Tribute," Anita says. "Having grown up listening and transcribing Ella solos, I felt so excited to be asked to talk about one of my great inspirations. Scat is a big part of what I do and so to be able to comment on scat syllables, style and phrasing was a great experience for me."

Anita continued to work throughout the UK with her trio: pianist Robin Aspland, bassist Jeremy Brown and drummer Gene Calderazzo. Aspland has worked with George Coleman, Bobby Watson, Steve Grossman, Van Morrison, Georgie Fame and is the pianist for Curtis Stigers when he tours England . Calderazzo hails from New York where he worked with legends Joe Henderson, Lionel Hampton and Michael Brecker. Moving to London in 1995, he has become one of the most demanded jazz drummers in Europe . Brown studied at the Royal Academy of Music and has become a very sought-after sideman throughout the UK . Anita and her trio returned to the studio in 1999 and recorded Straight Ahead, released on 33 Jazz. Critics praised her "vibrant delivery," finding in her style the "sweetness of Ella, the creativity of Mark Murphy whilst using her laughter, sadness and technique to tell a story like no other (Amazon). Japan 's most popular jazz publication, Swing Journal, gave its endorsement, writing, "!she's the real thing who can fluently scat and vocalese!" Her latest CD, Until the Stars Fade, finds Anita returning to her first love, tackling Porter, Rodgers and Hammerstein and Rogers and Hart. She and her trio deftly interpret well-known standards in a fresh way, whether it's playful scatting on an energetic "Get out of Town" or a tender reading of "Make Someone Happy". Throughout the disc, her vocalese rivals the storied lyricists in its expressiveness. It's no wonder The Guardian calls her "one of Britain 's most exciting talents."http://www.cdbaby.com/cd/anitawardell2

Why Do You Cry?

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Mark Turner, Tad Shull - Two Tenor Ballads

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 67:05
Size: 154,0 MB
Art: Front

( 9:52)  1. A Flower Is a Lovesome Thing
( 6:21)  2. Autumn In New York
( 6:28)  3. Blue in Green
( 7:11)  4. What's My Name
( 7:27)  5. I Forget to Remember
( 6:44)  6. Alone Together
( 6:19)  7. Very Early
(10:18)  8. Turn Out the Stars
( 6:20)  9. You've Changed

The two tenor battle is not a new idea, with predecessors ranging from Dexter Gordon and Wardell Gray to Eddie “Lockjaw” Davis and Johnny Griffin. However, what we have here is not so much a competition but a complimentary pairing that makes the most of the individualistic styles of Mark Turner (a distinguished disciple of Lester Young and Warne Marsh) and Tad Shull (straight out of the Webster/Hawkins school of deep-throated tenors). It’s the contrast that makes for provocative listening, Shull positively robust and burly, with Turner proving to be lighter-toned and more reasoned.

Throughout this generous set, Turner and Shull get sensitive backing from the trio of Kevin Hayes, Larry Grenadier, and Billy Drummond. Even with the preponderance of ballad material, things never bog down or become effete. The variety of material also helps in this matter, with “What’s My Name” sporting a gentle rumba beat and the waltz tempo of Bill Evans’ “Very Early” given a light bounce. Recorded in 1994 and just now seeing release, Two Tenor Ballads gives us a sumptuous early look at Turner, who has since become a leading man of great promise. Unfortunately, this “lost session” is the most recent work to feature Shull, a neglected maverick who is rarely heard from these days. ~ C.Andrew Hovan  http://www.allaboutjazz.com/two-tenor-ballads-mark-turner-criss-cross-review-by-c-andrew-hovan.php

Personnel: Mark Turner & Tad Shull- tenor saxophone, Kevin Hays- piano, Larry Grenadier- bass, Billy Drummond- drums

Two Tenor Ballads

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Milt Buckner, Hal Singer - Milt & Hal

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: R&B-Jazz
Year: 2008
Art: Front

[7:00] 1. Milt & Hal
[6:14] 2. Time For Dreams
[3:52] 3. Ghost Of A Chance
[7:12] 4. There's A Small Hotel
[4:28] 5. Nancy With The Laughing Face
[8:19] 6. The Blues Is Mine
[7:57] 7. Milt & Hal (Take 3)
[4:33] 8. Pick Yourself Up
[4:26] 9. Little Miss Maudlin
[8:02] 10. There's A Small Hotel (Take 1)

This is really an album led by tenor saxophonist Hal Singer, which accounts for the generous amount of R&B in the music. Not that Milt Buckner was moving it in the other direction because Buckner was comfortable in a number of musical settings including jazz, jump blues, and R&B. The pairing of Singer and Buckner gives this album a nice flavor as evidenced by the sound samples.

Other members of the ensemble are John Letman on trumpet and Tiny Grimes on guitar. Letman was also a session leader because his album, A Funky Day In Paris, was also being recorded during the same sessions and the entire ensemble appears on both. Having the great Tiny Grimes on guitar is pure icing on a rather delicious cake. ~Mike Tarrani

Milt & Hal

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Sara Jones - Daydream A Little

Bitrate: MP3@320K/s
Time: 59:47
Size: 136.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:49] 1. Garota De Ipanema
[2:43] 2. Aquarela Do Brazil
[4:38] 3. Overjoyed
[4:04] 4. I'll Take Romance
[5:12] 5. Les Feuilles Mortes
[4:58] 6. Some Other Time
[2:54] 7. Embraceable You
[3:30] 8. Only Trust Your Heart
[7:06] 9. The Look Of Love
[3:14] 10. Dream Dancing
[4:57] 11. Mona Lisa
[5:15] 12. At Seventeen
[4:01] 13. Tristeza
[3:20] 14. Chega De Saudade

Romero Lubambo, guitar; Nilson Matta, bass; Duduka Da Fonseca, drums; Paul Langosch, bass - tracks 4,6,7,10,12; Kevin Watt, flugelhorn - track 2,4,9;

From the first notes that Sara Jones sings on her debut CD, "Daydream A Little," it is obvious that a bright new vocalist is already making her mark on the music world. Her voice is very appealing, inviting and youthful. She revitalizes “The Girl From Ipanema” in a version that owes little to Astrud Gilberto--she swings, and her rendition is full of joy. In fact, one can easily imagine and even hear her smiling through her music.

The same qualities are heard throughout "Daydream A Little," a mixture of jazz and Brazilian standards that also includes a few superior pop songs. Teamed with guitarist Romero Lubambo, bassist-producer Paul Langosch, and the members of Trio da Paz, Sara Jones' debut is memorable, musical and infectious.

Born in Thailand and raised on the Eastern shore of Maryland, she began performing music as a pianist. “My Mom, grandmother and great aunt played piano so there was always a piano in the house,” remembers Sara. “I caught the bug when I was five. Although I mostly played classical music, I also listened to a lot of my grandparents' records and tapes of big bands.” Sara did not start singing seriously until she was in high school, winning the lead in the musical Anything Goes where she enjoying performing Cole Porter's music.

Daydream A Little

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The Rick Fines Trio - Riley Wants His Life Back

Bitrate: MP3@320K/s
Time: 47:02
Size: 107.7 MB
Styles: Contemporary blues
Year: 2006
Art: Front

[4:56] 1. Riley Wants His Life Back
[3:02] 2. Let Me Please You
[3:59] 3. Can You Forgive Me
[2:59] 4. Perfect Politician
[5:13] 5. Got To Get My Rest
[2:53] 6. What's Home To Me
[3:10] 7. Just A Little Kiss
[3:24] 8. Swingin' In The Trees
[4:33] 9. I Miss Her
[4:50] 10. You Can't Trust The River
[2:49] 11. I Just Had To Ask
[5:09] 12. Livin' Fast

The newest album, Riley Wants His Life Back, is an all- original collection. With Rob Phillips on piano and Richard Simpkins on upright bass, the Rick Fines Trio shines with a playfulness and level of comfort that shows their years of playing together. A small cast of guests compliment the recording. Al Webster joins in on drums for half the album. Chris Whiteley adds his trumpet or cornet to three songs.

Mathew Fines (Dobro) and Peter Andree (accordion) play on a song each. Alec Fraser steps up to the microphone several times in this, the third Fraser/Fines co-production. This new CD has quickly been hailed as Fines’ strongest yet. In addition to a busy touring schedule, Fines conducts classes and workshops. For several years now he has taught fingerstyle guitar at the Haliburton School of the Arts in Ontario and instructed at the Hornby Island Blues Workshop in British Columbia. Rick is part of the Blues In The Schools programs in both Ottawa and Toronto.

Riley Wants His Life Back

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James Hughes-Jimmy Smith Quintet - Ever Up And Onward

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Post bop, Straight ahead jazz
Year: 2015
Art: Front

[5:48] 1. Audio Culture
[6:08] 2. Dots
[0:58] 3. Luca's Interlude
[5:56] 4. East Detroit
[7:57] 5. There Is A Balm In Gilead
[2:03] 6. Drum Intro
[6:04] 7. Viridian
[5:06] 8. Zebras, Penguins And Bunny Rabbits
[6:37] 9. Keepin' It Real
[4:18] 10. Transgender Fender Bender
[6:49] 11. I'll Remember April
[7:15] 12. I'll Close My Eyes

Jimmy Smith-trumpet; James Hughes-saxophones; Phil Kelly-piano; Takasi Iio-bass; Nate Winn-drums.

We play original tunes in a modern jazz setting with a Detroit edge. Our music has personality, is impressionistic and swings. We have ample space for solos and they are surrounded by fresh, intricate melodies. We draw on our travels and experiences for inspiration and try to tell stories through our instrumental music.

Ever Up And Onward

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Mary Coughlan - Love For Sale

Styles: Jazz, Vocal
Year: 1995
File: MP3@320K/s
Time: 51:17
Size: 119,9 MB
Art: Front

(4:58)  1. A Thrill's A Thrill
(4:50)  2. Moon Over Bourbon Street
(2:34)  3. Baby Plays Around
(3:44)  4. You Go To My Head
(4:59)  5. Love For Sale
(4:22)  6. A Fine Romance
(3:48)  7. Damn Your Eyes
(3:52)  8. To Love A Man
(4:08)  9. Drinking The Diamonds
(2:50) 10. Upon A Veil Of Midnight Blue
(4:54) 11. These Boots Are Made For Walking
(6:14) 12. You Send Me

Irish torch singer Mary Coughlan was born in Galway in 1956; after enduring a painful adolescence that included bouts with drugs and alcohol as well as a stay in a mental hospital, she relocated to London at the age of 19, living in a hippie squat. After several lean years of waitressing and sweeping streets, Coughlan returned to Ireland in 1974, where a chance encounter with Dutch musician Erik Visser helped point her towards a singing career; specializing in jazz and blues, she began slowly earning a reputation on the pub circuit, which resulted in a handful of television appearances. From there, she and Visser moved on to sold-out concert dates, and in 1985 Coughlan finally recorded her debut LP, Tired and Emotional, a major hit in her native land. A number of other records followed in the years to come, and she became a critical favorite throughout much of Europe; with 1997's After the Fall, Coughlan made her U.S. debut, soon earning a devoted following on American shores as well. Three years later, Coughlan issued the vibrant tribute album Sings Billie Holiday. Long Honeymoon appeared in spring 2001. 

~ Bio  https://itunes.apple.com/gb/artist/mary-coughlan/id68546525#fullText

Personnel:  Richie Buckley – saxophone;  Robbie Casserly – drums;  Mary Coughlan – vocals;  James Delaney – keyboard;  Dick Farrelly – guitar;  Paul Moore – double bass

Love For Sale

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Ray Charles - Genius Loves Company (10th Anniversary Edition)

Styles: Vocal, R&B, Soul
Year: 2014
File: MP3@320K/s
Time: 61:01
Size: 141,0 MB
Art: Front

(3:59)  1. Ray Charles & Norah Jones - Here We Go Again
(3:47)  2. Ray Charles & James Taylor - Sweet Potato Pie
(3:56)  3. Ray Charles & Diana Krall - You Don't Know Me
(4:00)  4. Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
(3:32)  5. Ray Charles & Natalie Cole - Fever
(4:35)  6. Ray Charles & Bonnie Raitt - Do I Ever Cross Your Mind?
(5:01)  7. Ray Charles & Willie Nelson - It Was A Very Good Year
(5:16)  8. Ray Charles & Michael McDonald - Hey Girl
(4:26)  9. Ray Charles & B.B. King - Sinner's Prayer
(4:33) 10. Ray Charles & Gladys Knight - Heaven Help Us All
(4:55) 11. Ray Charles & Johnny Mathis - Over The Rainbow
(3:44) 12. Ray Charles & Van Morrison - Crazy Love (Live)
(5:04) 13. Ray Charles & Poncho Sanchez - Mary Ann
(4:06) 14. Take 6 - Unchain My Heart

"The way these days just rip along, too fast to last, too vast, too strong..." ~ Jackson Browne

The final recording of Ray Charles, Genius Loves Company, enjoys its tenth anniversary. It is striking to consider that it has been over ten years since the death of Ray Charles, one of the most imposing figures in American music. The music made in the second half of the twentieth century has had a remarkable staying power owing partially to its revolutionary quality and the near frantic dedication of the Post-World War II Baby Boom generation. Charles' contributions to this music are without measure. It is useful to consider the role, or roles, played by Charles in American music. He deftly fused the blues with gospel music forming that offshoot of rhythm and blues: soul music. He then took this new eutectoid and mashed it up with jazz, creating an earthy humus. Once he had done this, he took on country and western music, infusing that mostly-white genre with the same soul music he previously created, resulting in the groundbreaking Modern Sounds in Country & Western Music (ABC, 1962). Charles' reach was long and deep. 

Genius Loves Company is Charles' valedictory. It was recorded between June 2003 and March 2004, with Charles passing away from liver disease on June 10, 2004. While Charles' health was certainly questionable during recording, there is no indication of diminished capacity. His singing is robust and vibrant, overt and assertive. Charles had to have his eye on the end but he was never going to let on. If anything can be said of Charles' singing voice, it is that he "became more himself" as he aged. If Johnny Cash's late voice and appearance were those of an Old Testament prophet, then Ray Charles in autumn was a dying Mozart composing his sunny Clarinet Concerto less in defiance than acceptance.

Duet recordings, pitting old masters with contemporary musicians, are nothing new. Tony Bennett has made a cottage industry of them (and not to any bad effect at that). Time was of the essence for Charles and what better a love letter to his mastery than for him to share the stage with so many like-minded musicians who admired him so. It was because of this programming, the chosen artists and some shrewd marketing that Genius Loves Company was Charles' first top ten recording in 40 years. One of the biggest criticisms of the Charles biopic Ray was that the story ended 40 years early. My argument would be, "what was there left for Ray Charles to do?" This is an album of artists' collaborative praise for a fellow artist. Programming for the original recording was superb as was duet partner and song choice. Norah Jones, a closet country queen masquerading as a jazz artist, is a perfect foil to Charles on "Here We Go Again." Broad country block chords and Jones' creamy voice properly accent Charles' sacred sandpaper tone. 

Charles is most simpatico with his near contemporaries. "Fever" with Natalie Cole and "Heaven Help Us All" with Gladys Knight are love fests. Charles digs deep with BB King (and Lucille) on "Sinner's Prayer" and Bonnie Raitt on "Do I Ever Cross Your Mind." Raitt's signature slide guitar, ever influenced by Lowell George, is captured beautifully sonically. Ray Charles possessed a stylistic depth and breadth with few peers. When considering who could step in and accept the mantle from Charles after his death, I posited two names, both gratefully represented here. Willie Nelson has had as varied a career as Charles, sampling and then mastering every genre attempted. The two duet on a song closely associated with another such kindred spirit, Frank Sinatra. "It was a Very Good Year" is an unexpected luxury of artistic irony and grace). Van Morrison shares and ultimately offers his "Crazy Love" as a gift to Charles, the two crossing traditions with all we have in common.  The present Deluxe Edition sports a piquant "Mary Ann" with percussionist Poncho Sanchez and an awesome "Unchain My Heart" with Take 6. An hour-long DVD detailing the making of Genius Loves Company is a bit of gravy for this Fall class. Happy Birthday, Genius Loves Company... it has been a very good year. ~ C.Michael Bailey  http://www.allaboutjazz.com/ray-charles-genius-love-company--10th-anniversary-deluxe-edition-by-c-michael-bailey.php
 

Personnel: Ray Charles: vocals, keyboards; Ray Charles-vocals, piano; Norah Jones, James Taylor, Diana Krall, Elton John, Natalie Cole, Bonnie Raitt, Willie Nelson, Michael McDonald, Gladys Knight, Johnny Mathis, Van Morrison-vocal; B.B. King, guitar, vocal; Billy Preston-organ; Poncho Sanchez: percussion; Take 6; 63-piece orchestra; others.

Genius Loves Company (10th Anniversary Edition)

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Kirk Whalum - Promises Made : The Millennium Promise Jazz Project

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 62:37
Size: 143,8 MB
Art: Front

(4:07)  1. Stand By Me
(6:43)  2. Bridge Over Troubled Water
(4:46)  3. I Wish I Knew (How It Feels to Be Free)
(6:10)  4. A Day In The Life
(3:57)  5. The Fool on the Hill
(6:06)  6. People Get Ready
(3:39)  7. Eleanor Rigby
(8:39)  8. I'll Take You There
(4:33)  9. A Change Is Gonna Come
(5:36) 10. War
(6:15) 11. What's Going On
(2:00) 12. (Untitled)

With precious few exceptions, star-studded lineups on benefit recordings are usually a mixed bag at best particularly when it comes to the jazz arena. We tend to support these albums more as a way of showing solidarity than for their musical value. This set of stellar, contemporary jazz versions of socially conscious pop and soul songs is a clear exception. Promises Made is a benefit offering on Koch for the Millennium Project, an organization dedicated to the relief of hunger, disease prevention and economic development in Africa. This set is co-directed by saxophonist Kirk Whalum and pianist Takana Miyamoto. Some of those who signed on for this date include George Duke, David Sanchez, Marcus Printup, Russell Gunn, and Earl Klugh, who appear as soloists in different settings with a couple of different rhythm sections. The album was recorded in Nashville and produced by Miyamoto and Whalum with Norbert Simmons acting as executive producer.

This set is a treat: it's polished to be sure, but it's far from slick. The rhythms are all organic, there are no programmed beats, just drums and percussion instruments. Every selection is drenched in real emotion and, to quote Charles Mingus, "plenty, plenty soul." The opener is a great place to start: Whalum and Miyamoto front a septet performing Ben E. King's classic "Stand by Me," which becomes a hymn of solidarity underscoring this project. With a B-3, electric guitar, two bassists (upright and electric), drums, and percussion behind the soprano and piano, it is reminiscent of the Blue Note soul-jazz sound of the mid-'60s except that the production is pure 21st century, smooth and seamless. The melody is pronounced and there is a bridge for the soloists to move forward a bit before returning to it. It is groove conscious without being synthetic and is drenched with honest emotion. The songs of Lennon and McCartney are well represented here: "Eleanor Rigby," "A Day in the Life," and "The Fool on the Hill" are present. 

In addition, there as are excellent readings of Curtis Mayfield's standard, "People Get Ready," Barrett Strong's and Norman Whitfield's "War," Marvin Gaye's "What's Goin' On," Sam Cooke's "A Change Is Gonna Come," Paul Simon's "Bridge Over Troubled Water," Alvertis Isbell's "I'll Take You There," (so closely associated with the Staple Singers), and the civil rights-era classic, "I Wish I Knew (What It Means to Be Free)" immortalized byNina Simone. As fine as this set is as a whole, there are some clear standouts: "A Day in the Life" with Klugh's warm but funky acoustic guitar and gorgeous piano work by Miyamoto, the long improv that introduces the Mayfield tune with Whalum at his soloing best on soprano and a nice koto part woven in by Junko Takeo; Sanchez's lyrical tenor paired with Printup's trumpet on "Fool on the Hill"; and the five-horn front line of the Common Ground Collective on "War," with talking drum, wah-wah guitars, and smoking breakbeats. This is not only a benefit record worth supporting, it's a musical statement that stands on its own; it is worth celebrating as one of contemporary jazz's shining lights in 2008. ~ Thom Jurek  http://www.allmusic.com/album/promises-made-the-millennium-promise-jazz-project-mw0000796603

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kevin Whalum (vocals, background vocals); Paige Lackey Martin, JIVA Singers, Alex Lattimore, Chanda McKnight, Lizz Wright (vocals); Kevin Turner, Earl Klugh, Kevin Turner (guitar); Junko Takeo (koto); Takana Miyamoto (melodica, piano, Fender Rhodes piano); Kenton Bostick (alto saxophone, drums); Darryl Reeves (alto saxophone); David Sanchez , Jorga Mesfin, Kenneth Whalum, Kebbi Williams (tenor saxophone); Alex Lowe (baritone saxophone); Dallas Smith & the Boys From Shiloh, Marcus Printup, Russell Gunn (trumpet); Mausiki Scales (Fender Rhodes piano, percussion); George Duke (Fender Rhodes piano); Ralph Lofton (Hammond b-3 organ); Chris Kent, Zack Pride (bass instrument); Terreon Gully (drums, drum, tambourine); J.D. Blair (drums, drum, percussion); Chris Burroughs (drums); Adebisi Adeleke (talking drum); Juan Carlos Santos, Rafael Pereira (percussion); Joey Kibble, Mark Kibble (background vocals).

Promises Made : The Millennium Promise Jazz Project

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Sheena Davis Group - Matchmaker

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 52:26
Size: 121,2 MB
Art: Front

(4:02)  1. Jamie's Grin
(5:09)  2. You Don't Know Me
(4:34)  3. Close Your Eyes
(3:31)  4. Matchmaker, Matchmaker
(3:50)  5. Cheek To Cheek
(3:45)  6. At the Start
(5:24)  7. Just For A Thrill
(4:45)  8. Almost Like Being in Love
(4:12)  9. Let's Face the Music
(4:40) 10. Perfidia
(3:35) 11. Spring In My Step
(4:52) 12. Shboom

Vocalist Sheena Davis is one of the UK's leading jazz vocalists and her band, the Sheena Davis Group, has become established as one of Britain's most exciting jazz ensembles. Davis first came to the attention of the jazz world as vocalists with the National Youth Jazz Orchestra. Since leaving NYJO in 1998 she has impressed with her stunning vocal ability, her musicality and sheer energy, and her innate sense of swing and dynamic voice.

Davis's new CD is based around the jazz standards to which she has added three original compositions, as well as re-workings of songs associated with the modern popular songbook. http://www.amazon.co.uk/Matchmaker-Sheena-Davis-Group/dp/B000BHAO3U

Personnel: Sheena Davis - vocals, Robert Rickenberg - bass, Tom Pilling - piano, keyboard, Stephen Rushton – drums, Nigel Price - guitar, Derek Nash - tenor saxophone, Steve Vintner - vibes.

Matchmaker

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Louis Durra - Dreaming

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 57:19
Size: 131,7 MB
Art: Front

(7:18)  1. Falling In Love With Love
(6:08)  2. Honeysuckle Rose
(4:17)  3. 35 Bar Waltz
(4:20)  4. Dreaming
(3:53)  5. Stella By Starlight
(5:21)  6. It's Easy To Remember
(4:31)  7. 18 Bars
(4:48)  8. Ballad For Bonnie
(4:10)  9. Too Many Times
(6:58) 10. Blues For Tomorrow
(5:30) 11. The Nearness Of You

"Jerry, Darek and I had a steady gig for a year before I booked the session that comprises most of Dreaming. We had great communication in that group and I wanted to document some of those moments on tape. We recorded "live to two track" one night a few days after my son's birth. It seemed like a door opened as we played. The music felt fluid and fluent. I decided to release this session years later because the music still moves me. Three of the tunes come from different sessions, yet felt right for the CD. We had a great time recording this music; may the listening be as rewarding!" http://www.cdbaby.com/cd/louisdurra2

Personnel:  Louis Durra – piano;  Darek Oles – bass;  Jerry Kalaf – drums with Don Kasper - bass tracks 3 & 5, Trey Henry - bass on track 7.

Dreaming

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Stefano Battaglia - Pastorale

Styles: Piano, Avant-Garde
Year: 2010
File: MP3@320K/s
Time: 61:23
Size: 152,5 MB
Art: Front

(6:28)  1. Antifona Libera
(5:59)  2. Metaphysical Consolations
(3:55)  3. Monasterium
(2:28)  4. Oracle
(3:58)  5. Kursk Requiem
(8:05)  6. Cantar Del Alma
(4:50)  7. Spirits Of Myths
(7:00)  8. Pastorale
(5:50)  9. Sundance In Balkh
(9:48) 10. Tanztheater
(2:56) 11. Vessel Of Magic

In many ways, Italian piano explorer Stefano Battaglia's work with the German ECM label beginning with the opaque beauty and greater extremes of 2006's Raccolto, and continuing with 2007's more ambitious and stylistically far-reaching Re: Pasolini has been leading to this. Pastorale, unlike those previous releases, is a single disc, pared down in other ways as well. Instead of the trios on Raccolto and quintet/sextet of Pasolini, here Battaglia is back with only his longstanding percussionist, Michele Rabbia. The inherent flexibility and intimacy of the duo setting affords Battaglia the opportunity to explore a program of quiet, near-static landscapes and more florid terrain, combining natural acoustic sounds with subtle electronics and delicate prepared piano treatments. Battaglia is a pianist who, rather than straddling the classical and jazz worlds, finds his own meeting place where they come together in remarkable synchronicity. Battaglia also dissolves the line between form and freedom, drawing from the entire musical spectrum as he touches on the Middle East with "Sundance in Balkh." A sketch of a context joins with Rabbia's frame drum to develop a piece that also straddles the fence between minor key plaintiveness and major key celebration, building in intensity and intent over the course of six minutes. On the title track, Battaglia creates an unsettling juxtaposition between right handed lyricism and left-handed dissonance.

Battaglia's use of prepared piano and Rabbia's incorporation of electronic sound sources expands what might appear, on paper, to be a simple pairing of piano and percussion. The arc of Pastorale builds from the ground up, with the melancholy "Antifona Libera" founded on rich, repeated voicings that demonstrate Battaglia's versatile touch; soft, when necessary, strong when demanded. His part grows almost exponentially, as Rabbia's bowed cymbal and other devices create textural, near-lyrical lines that float above Battaglia's mid-register. The beauty of Rabbia's work on this disc is that, while Battaglia's playing could stand on its own, the percussionist's additions whether textural or gently rhythmic don't just enhance the sound, they expand it in significant and profound ways. That this duo builds eminently appealing soundscapes is all the more surprising when it turns more foreboding, as it does on "Spirits of Myths," or busier, as it does on "Oracle" which, with Battaglia's flittering lines and Rabbia's percussion filling the entire three-dimensional audioscape, is more about color and feel than melody and pulse. 

"Metaphysical Consolations" may, in its harmonic and rhythmic stasis, be closer to Morton Feldman territory than anything in the jazz sphere, but with Rabbia's soft brushwork driving the brooding "Cantar del Alma," Battaglia comes closer to the jazz vernacular, albeit impressionistically and imbued with an unmistakable melancholy classicism. An album of contrasting dark thoughts and brighter ideations, the masterful Pastorale strikes an almost immediate subconscious chord. Resonating on a deep level, it's Battaglia's purest, most vividly evocative and provocative album to date. ~ John Kelman  http://www.allaboutjazz.com/pastorale-stefano-battaglia-ecm-records-review-by-john-kelman.php

Personnel: Stefano Battaglia: piano, prepared piano; Michele Rabbia: percussion, electronics.

Pastorale

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Various - The Jazz And Beatles Tribute

Bitrate: MP3@320K/s
Time: 41:29
Size: 95.0 MB
Styles: Crossover jazz
Year: 2010
Art: Front

[0:20] 1. M.P.R. - Intro
[3:12] 2. Jazzystics (Feat Deborah Dixon) - Day Tripper
[2:32] 3. Sarah Menescal - Here Comes The Sun
[2:32] 4. Betty Says - Yesterday
[2:36] 5. The Bryan J. White Quartet - Honey Pie
[3:59] 6. Cooltrane Quartet - Oh! Darling
[2:52] 7. Les Crossaders - A Hard Day's Night
[2:38] 8. Scubba - Something
[6:27] 9. Eve St. Jones - Blackbird
[0:23] 10. M.P.R. - Intro, Pt. 2
[3:44] 11. Richard Eastwood - Let It Be
[3:11] 12. 48th St. Collective - Come Together
[3:25] 13. Jamie Lancaster - All You Need Is Love
[3:33] 14. The Smooth Jazz Quintet - Hey Jude

The saga which is already a true classic presents its newest chapter: Jazz And Beatles. This is an album where the most popular material of the Fab Four are reinterpreted with all the warmth and charm of the music born in New Orleans, raised in New York and which forms an integral part of the universal language of sound. In Jazz And Beatles, we witness inspired interpretations of such classics as Here Comes The Sun, Yesterday, Let It Be, Hey Jude, which take on new life, entering in a world full of distinction. Jazz And Beatles will become another favorite album, full of elegance and new takes on old favorites.

The Jazz And Beatles Tribute

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Peggy Lee - Pass Me By

Bitrate: MP3@320K/s
Time: 24:27
Size: 56.0 MB
Styles: Vocal
Year: 1965/2011
Art: Front

[2:20] 1. Sneakin' Up On You
[2:22] 2. Pass Me By
[2:26] 3. I Wanna Be Around
[2:02] 4. Bewitched
[2:29] 5. My Love, Forgive Me (Amore, Scusami)
[1:43] 6. You Always Hurt The One You Love
[2:04] 7. A Hard Day's Night
[2:03] 8. L-O-V-E
[2:19] 9. Dear Heart
[2:19] 10. Quiet Nights (Corcovado)
[2:15] 11. That's What It Takes

Capitol aimed songs from Pass Me By at several different markets, and the effect is a scattershot LP with several nuggets but no real cohesion. First up is the delightfully tossed-off popcorn tune "Sneakin' Up on You," but it's followed by the title track, a queasy strike-up-the-band march which surprisingly reached the charts. "Dear Heart" leans toward the countrypolitan sound (it would've fit much better as a vehicle for Charlie Rich), and the Beatles cover "A Hard Day's Night" wasn't a good match at all; Lee strains to hit the lower notes, and sounds tentative singing the lyrics. While her vocals are on the weak side from a technical standpoint, Lee's interpretive powers are mostly intact, and her flair on "Sneakin' Up on You" makes it a natural for one of those swinging novelties often heard on '60s compilations. ~John Bush

Pass Me By

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Eddie 'Lockjaw' Davis - Leapin' On Lenox

Bitrate: MP3@320K/s
Time: 57:51
Size: 132.4 MB
Styles: Saxophone jazz
Year: 2002/2008
Art: Front

[7:03] 1. On Green Dolphin Street
[4:10] 2. Body And Soul
[5:02] 3. Leapin' On Lenox
[3:20] 4. Quiet Nights
[4:24] 5. Just Friends
[4:35] 6. I Can't Get Started
[6:22] 7. The Shadow Of Your Smile
[4:38] 8. Mean To Me
[4:31] 9. Comin' Home Baby
[7:00] 10. Love Is Here To Stay
[6:41] 11. Double Eddie

Sources vary regarding the way in which Eddie “Lockjaw” Davis earned his nickname. Some claim he adopted the moniker at an early recording session while creating titles for his compositions; “Lockjaw” consequently, became not only the name of a tune, but also an important part of his billing. Still others point to Davis’s habit of clamping down on his tenor saxophone with his mouth as the reason his nickname came about, leading observers to call him “Lockjaw.”

But regardless of the cause, Davis became for many the quintessential straight-ahead jazz saxophonist. His sound—aggressive, big-toned, and bluesy yet also capable of great sensitivity—made him a much-emulated player. He was among a handful of players who developed an unmistakably personal sound. According to Derek Taylor on the All About Jazz website, Davis was the “bearer of a sound that could cleanly shift from coarse Rhythm and Blues infused wailing to beautifully textured, romantically voiced poetry. In either incarnation his signature sound, a full-bodied articulation that made ardent use of his instrument’s rich tonal properties, always shone through as distinct and nonderivative.”

Leapin' On Lenox

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Susi Hyldgaard - Magic Words

Styles:  Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 41:03
Size: 94,6 MB
Art: Front

(4:42)  1. Slow Hot Wind
(2:33)  2. Teach Me Tonight
(4:16)  3. Love For Sale
(4:32)  4. In The Wee Small Hours
(4:05)  5. Kemo Kimo
(2:52)  6. Je Vivrais Sans Toi
(4:55)  7. Moondance
(3:02)  8. Les Parapluies Des Cherbourg
(3:16)  9. In the Summertime
(2:51) 10. When I Fall In Love
(3:55) 11. Baby It's Cold Outside

There's a definite magic feel to Susi's vocals on this set a style that's jazzy, but also quite contemporary spacey vocals on older standards, blended with a 21st Century sense of rhythm and timing! At times, the record gets almost atmospheric just a bit of light backing as the lyrics spin out slowly in space and at other points, the rhythms pick up somewhat, with slight electric touches that almost make the album feel like some of the better vocal work on the Jazzland label in recent years. Titles include "Kemo Kimo", "Je Vivrais Sans Toi", "Slow Hot Wind", "Teach Me Tonight", "Love For Sale", "In The Summertime","Moondance","When I Fall In Love",and "Les Parapluies Des Cherbourg".  http://www.jazzrecords.com/enja/9181.htm

Personnel: Susi Hyldgaard (vocals, accordion, piano, keyboards, electronics); Aldo Romano (vocals); Niels Gerhardt, Erling Kroner (trombone); Kasper Winding (keyboards); Carsten Sonderskov (drums).

Magic Words

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Kai Winding - Swingin' States

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 34:19
Size: 79,2 MB
Art: Front

(2:15)  1. Indiana
(2:47)  2. Carry Me Back To Old Virginny
(2:37)  3. California, Here I Come
(2:32)  4. Louisiana
(2:34)  5. Moonlight in Vermont
(3:02)  6. Georgia on My Mind
(2:22)  7. Jersey Bounce
(3:22)  8. Stars Fell on Alabama
(3:29)  9. Idaho
(3:22) 10. At Last Alaska
(3:15) 11. Mississippi Mud
(2:36) 12. Oklahoma

The gimmick of this out-of-print LP by trombonist Kai Winding is that all dozen songs have a state in their title including "Jersey Bounce," "Carry Me Back to Old Virginia," "California Here I Come" and "Oklahoma." Only "At Last Alaska" (named after the recently admitted 49th state) is an original. At the time Winding was leading a four-trombone septet (which included two bass trombones).

Winding and fellow trombonist Frank Rehak along with pianist Hank Jones split up all of the solo space on the spirited if somewhat lightweight music. https://itunes.apple.com/us/album/the-swingin-states/id709135405

Swingin' States

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