Lou Rawls - Super Love

Size: 178,0 MB
Time: 76:23
File: MP3 @ 320K/s
Released: 2015
Styles: Blues/Jazz/R&B Vocals
Art: Front

01. How Long Blues (4:20)
02. Ain't Nobody's Business If I Do (2:41)
03. Black And Blue (3:27)
04. Willow Weep For Me (5:54)
05. Stormy Weather (3:00)
06. I'm Gonna Move To The Outskirts Of Town (3:56)
07. Summertime (3:31)
08. Trouble In Mind (3:50)
09. In The Evening When The Sun Goes Down (3:25)
10. St. James Infirmary (4:40)
11. Every Day I Have The Blues (2:29)
12. Gloomy Sunday (3:04)
13. See See Rider (3:08)
14. Sentimental Journey (3:17)
15. God Bless The Child (4:26)
16. Georgia On My Mind (3:17)
17. Ol' Man River (3:47)
18. Lost And Lookin' (3:07)
19. When It's Sleepy Time Down South (3:04)
20. I'd Rather Drink Muddy Water (3:52)
21. Tobacco Road (3:59)

Louis Allen "Lou" Rawls (December 1, 1933 – January 6, 2006) was an American recording artist, voice actor, songwriter, and record producer. He is best known for his singing ability: Frank Sinatra once said that Rawls had "the classiest singing and silkiest chops in the singing game". Rawls released more than 60 albums, sold more than 40 million records, and had numerous charting singles, most notably his song "You'll Never Find Another Love Like Mine". He worked as a television, motion picture, and voice actor. He was also a three-time Grammy-winner, all for Best Male R&B Vocal Performance.

Super Love

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Charenee Wade - Offering: The Music Of Gil Scott-Heron & Brian Jackson

Size: 144,0 MB
Time: 61:42
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Offering (Feat. Stefon Harris) (4:29)
02. Song Of The Wind (Feat. Stefon Harris) (7:38)
03. A Toast To The People (6:33)
04. Home Is Where The Hatred Is (Feat. Stefon Harris) (4:29)
05. Ain’t No Such Thing As Superman (Feat. Marcus Miller, Malcolm-Jamal Warner) (5:47)
06. Essex Martin, Grant, Byrd & Till (8:43)
07. Western Sunrise (5:10)
08. The Vulture (Your Soul And Mine) (6:26)
09. Peace Go With You Brother (Intro) (0:42)
10. Peace Go With You Brother (Feat. Stefon Harris) (7:03)
11. I Think I'll Call It Morning (4:36)

As it often happens with many artists so in tune with the times that they are actually ahead of their time, the immense contribution of musical/cultural revolutionary Gil Scott-Heron continues to be revealed and acknowledged. Albeit, there has been a perpetual cult surrounding this enigmatic figure which defied any sort of categorization both in music and personality, but judging by the posthumous releases of his catalog and continuing tributes, his legacy has taken on the iconic qualities it deserves. His musical partner throughout his most productive phase, pianist Brian Jackson, provided the catalyst for much of Gil Scott-Heron's best work, and is recognized as an innovator in jazz and modern urban music.

Charenee Wade is a singer, composer, arranger and educator, noted for her self-produced "Love Walked In," in 2011. Previous to this release, she honed her vocalizing skills as featured guest on releases by Tia Fuller, Eric Reed, and the Eyal Vilner Big Band, among others. Armed with unfathomable passion and assurance, Wade introduces Offering—The Music of Gil Scott-Heron and Brian Jackson. Utilizing the lyrics and music of the gifted duo as a launching pad, she takes her innovative arrangements into another dimension, conveying the intended message with her singular and assertive vocal textures, evolving, while honoring the spirit of the original source.

Gleaning from the songwriters' peak prolific period of the 1970's, Wade chose an interesting set list with the title track setting the conceptual tone of the record. "Song Of The Wind," shows the dynamic emotional range that Wade can cover, accompanied by vibraphonist Stefon Harris, the song becomes the transporter of the skies. The pace is slightly quickened with "A Toast to the People," with its timeless salutation to those who were lost in the struggle. There is the straight ahead version of "Home Is Where The Hatred Is," this being one of Scott-Heron's masterpieces, Wade cleverly takes it into a tailspin, building into almost frenetic phrasing with her horn like voice that portrays the song with all its dark poignancy and despair. "Ain't No Such Thing As Superman," is set up superbly by bassist Lonnie Plaxico, who authenticates the tempo with that inner city feel, allowing Wade to stretch and scat her way through the other side. "Western Sunrise," featuring Plaxico and guitarist Dave Stryker, is an enthusiastic number, greeting the coming of a new day.

Gil Scott-Heron was also highly regarded as a New Black Poet, a title he both relished and rejected, he liked to call himself a messenger of his people, a modern throwback to the African griots. To fully capture his poetic essence, Malcolm-Jamal Warner on "Essex/Martin, Grant, Byrd & Till," and Christian McBride on "Peace Go With You Brother," take on the lead roles representing the spoken word. These are critical participants in these songs, for the poetry, with its bare knuckle frankness, lies at the root of this music. Wade picks up on the peace missive, softening the tone, bringing it down to almost a plea, for there has to be a way out of the madness.

If there was ever a perfect song for this record's closure "I Think I'll Call It Morning," is it. The Music of Gil-Scott Heron and Brian Jackson, though identified with political, cultural and racial references of revolution and change, also depicted an immense sense of optimism. This final song portrays just that, that no matter what happens, the sun will rise tomorrow, and with it another opportunity to make the changes and choices necessary for our collective peace of mind.

With this production, Charenee Wade has proven that she possesses courageous talent, and is a singer whose time has come. Choosing to interpret this material was not an easy route, but in the true spirit of a jazz improviser, she absolutely made these songs her own. She recorded much more than a tribute to two exemplary musician/songwriters, it is a resolution that the work continues, it is an Offering. ~James Nadal

Personnel: Charenee Wade: vocals, arrangements; Brandon McCune: piano; Dave Stryker: guitar; Lonnie Plaxico: bass; Alvester Garnett: drums; Stefon Harris: vibes; Lakecia Benjamin: alto sax (6); Malcolm-Jamal Warner: spoken word (6); Marcus Miller: bass clarinet (6); Christian McBride: spoken word (9).

Offering

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Larry Newcomb Quartet - Live Intentionally!

Size: 102,3 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. Be My Love (Live) (4:06)
02. All The Things You Are (Live) (4:28)
03. Thanks Jack! (Live) (4:06)
04. Sure Thing (Live) (4:56)
05. Instant Water (Live) (5:12)
06. Olhos De Gato (Live) (4:54)
07. Au Privave (Live) (4:08)
08. Stardust (Live) (6:18)
09. Have You Met Miss Jones? (Live) (5:38)

LIVE INTENTIONALLY! was recorded live. I wanted to capture the spontaneous intensity and energy of playing jazz without a safety net. I also wanted to test my own performance and improvisatory skills in real time. I wanted to “walk the walk” without relying on overdubbing solos later or “fixes-in-the-mix.”

Pianist Eric Olsen, bassist Dmitri Kolesnik, drummer Jimmy Madison and I set up together at Tedesco Studios. I counted off my three originals and six standards and the result is this recording.

The message of the title is the same whether LIVE INTENTIONALLY! strikes you as “intentinally
recorded live!” or “live your life with intentionality!” This is our genuine, spontaneous playing, reaching for all
the joy and beauty we could capture in each moment.

I ’d like to express my gratitude for the brilliant contributions Jack Wilkins, Bucky Pizzarrelli, Tom Tedesco, Luis Guell and my outstanding collaborators Eric Olsen, Dmitri Kolesnik and Jimmy Madison. Sincerely hoping you enjoy it, Larry Newcomb

Guitarist Larry Newcomb performs classic and original jazz and blues both as a soloist and in duo, trio and quartet ensembles. Larry has contributed a wealth of electric and acoustic guitar stylings in performances and on recordings with Bucky Pizzarelli, Jack Wilkins, Seleno Clarke, Billy Kaye, Jon Weiss, Mike Camoia, Larry Newcomb Trio, his duo Jonaitis & Newcomb, the band Wolfgang’s Revenge and with Babs Winn & the Kickin’ Boogie Band. Newcomb has studied with guitar masters Bucky Pizzarelli, Mark Elf, Pat Martino, Howard Roberts and Randy Johnston. His affable performing style is informed by a PhD in Music History and a seasoned master’s understanding of the jazz idiom.

The path to jazz mastery is long, challenging, rewarding, and never-ending. I started out transcribing then quoting great blues guitarists including B. B. King, Albert King, Freddie King, Eric Clapton, and Duane Allman. In my early 20s, I heard Jim Hall, George Benson, Joe Pass, Barney Kessel, Herb Ellis and Kenny Burrell. My direction was established. I slowly developed a repertoire of standard tunes; and, by transposing the work of the masters, I learned to address each harmonic element of a tune in its own rite--especially the creation and resolution of tension from each dominant chord to the temporary or permanent tonic. Throughout my musical journey, I've strived to play what I hear, and to make each note ring with colorful, clear and heartfelt beauty.

“Larry Newcomb is a master guitar player and a life-long student of the instrument.” ~Bucky Pizzarelli (Renowned Jazz Guitar Innovator)

“You manage to get a great tone consistently and that isn’t easy. You have a wonderful sound. You have mastered the guitar.” ~Larry Lucie (Guitarist with Duke Ellington, Count Basie, Louis Armstrong, Billie Holiday and Cab Calloway)

“Exceptionally beautiful guitar tone and facility.” ~Grady Tate (Legendary Jazz Drummer and Vocalist)

“Larry Newcomb is one of the best all-around jazz guitarists performing today. Larry projects an unselfconscious ease in everything he plays. His skill is always at the service of heartfelt music. Larry’s tone is in the Grant Green–Peter Bernstein vein, very up-front and easy to relate to.” ~Peter Arnold (Manhattan Jazz Guitarist)

Live Intentionally!

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Marlena - My Heart to Yours

Size: 133,9 MB
Time: 57:07
File: MP3 @ 320K/s
Released: 2015
Art: Front

01. I Just Want To Make Love To You (3:10)
02. Smooth Operator (5:12)
03. Good Morning Heartache (3:28)
04. I've Got To See You Again (4:10)
05. I Put A Spell On You (4:28)
06. Why Don't You Do Right (3:12)
07. Cry Me A River (2:58)
08. Smile (3:34)
09. Our Day Will Come (2:55)
10. Stormy (3:15)
11. Back To Black (3:59)
12. Eyes Without A Face (4:05)
13. The Look Of Love (4:42)
14. Dream A Little Dream Of Me (4:05)
15. The Best Is Yet To Come (3:46)

Marlena’s musical influences, in part, arose from her early life growing up in the “melting pot” of Jamaica Queens, NY (the same neighborhood of Fifty Cent’s youth). As a young child, she would hear, late into the summer evenings, the soulful sounds of Al Green, Marvin Gaye, Donna Summer, Billie Holiday, Nina Simone, and Etta James, as they wafted through her bedroom window, from the nearby park. Marlena irritated her sister as she would pick up a hairbrush and sing at the top of her lungs – the beginnings of her soulful sound and her desire to perform. Starting at the age of 10, Marlena, the daughter of a minister, sang gospel in church, and on Saturdays performed a cappella versions of the same on the streets of New York, drawing a crowd to whom her father preached. These experiences honed her voice, enabling her to emote and greatly connect with all that have the pleasure to hear her sing. She attended the prestigious School of Art and Design in Manhattan. Eventually, she worked, modeled, and sang, while living in the artistic community of Soho, NY. This is where she developed her great versatility as a female vocalist, singing in multiple bands in and around New York City, ranging in style from garage, to funk, to torch and at venues as diverse as sticky dive bars and the famed Studio 54. With her impressive vocal range and her signature growl, Marlena can easily transition from jazz, blues, country, rock, and torch. Her life experiences are reflected in the songs selected for this CD as each song has a personal significance. There is an emotional connection and intimacy in every song that she sings. This Album “My Heart to Yours” is a rare combination of flash and class.

My Heart to Yours

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Big Bad Voodoo Daddy - Save My Soul

Bitrate: MP3@320K/s
Time: 42:05
Size: 96.3 MB
Styles: Retro swing
Year: 2003
Art: Front

[2:31] 1. Zig Zaggity Woop Woop Pt. 1
[4:47] 2. You Know You Wrong
[2:52] 3. Always Gonna Get Ya
[4:59] 4. Don't You Feel My Leg
[4:37] 5. Oh Yeah
[4:28] 6. Simple Songs
[3:21] 7. Next Week Sometime
[6:34] 8. Save My Soul
[4:19] 9. I Like It
[3:34] 10. Zig Zaggity Woop Woop Pt. 2

For their first album in four years, Big Bad Voodoo Daddy realized they needed to switch gears since the freak, late-'90s big band craze had become about as hot as yesterday's scrambled eggs. Thankfully, a trip down to New Orleans to play Jazzfest (recounted in this album's title track) reinvigorated and reinvented the group's sound. Gone are the smarmy Vegas charts, replaced with a swampy Crescent City, slinky Bourbon Street swagger. Add Latin mambo on the percussive "I Like It" and "You Know You're Wrong," along with some second-line funk straight out of the Dirty Dozen Brass Band on "Zig Zaggity Woop Woop, Pt. 2" and you've got a swinging, finger-popping disc that should keep the band's established fans happy, while expanding their previously limited, and nearly dead-ended scope. Most of the tunes are originals -- if derivative ones -- except for a cover of Blue Lu Barker's ""Don't You"" Feel My Leg" (also a moderate '70s hit for Maria Muldaur). However, the barroom swagger turned Dixieland jazz of "Simple Songs" seems a bit forced and frontman Scotty Morris' voice hasn't improved. This material would benefit from a gruffer approach. But Save My Soul is a surprisingly enjoyable and fresh album from a band many might have written off as already expending their allotted 15 minutes of fame. The disc's CD-ROM content includes three live tracks, information, pictures of each band member, and shots from the making of the album. ~Hal Horowitz

Save My Soul

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Sonny Rollins - Prestige Profiles (2-Disc Set)

Prestige Profiles, Vol. 3 highlights recordings made in the 1950s by tenor saxophonist Sonny Rollins for the legendary jazz label. Although the majority of these ten tracks are standards, including "More Than You Know," "On a Slow Boat to China," and "It's All Right with Me," they emphasize Rollins' ability to make every performance his own, no matter how many times he has played a particular song. Also included are the Rollins-penned "Tenor Madness," "Mambo Bounce," and "St. Thomas," a tune that has since become a modern jazz standard. While there is nothing here the jazz collector doesn't already own, Prestige Profiles, Vol. 3 provides a decent sampling for the curious listener at a mid-line price. ~Al Campbell

Album: Prestige Profiles (Disc 1)

Bitrate: MP3@320K/s

Time: 63:44

Size: 145.9 MB

Styles: Bop, Saxophone jazz

Year: 2004

[ 6:45] 1. St. Thomas

[10:47] 2. More Than You Know

[ 5:11] 3. I Feel A Song Coming On

[ 2:38] 4. On A Slow Boat To China

[ 4:19] 5. My Ideal

[ 6:05] 6. It's All Right With Me

[ 3:17] 7. In A Sentimental Mood

[10:03] 8. Moritat

[ 2:21] 9. Mambo Bounce

[12:14] 10. Tenor Madness

Prestige Profiles (Disc 1)  

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Album: Prestige Profiles (Disc 2)

Bitrate: MP3@320K/s

Time: 46:47

Size: 107.1 MB

Styles: Bop, Saxophone jazz

Year: 2004

Art: Front

[ 5:11] 1. Oleo

[ 5:43] 2. Think Of One

[ 5:19] 3. Lover, Come Back To Me

[ 9:26] 4. My Blues House

[ 5:04] 5. Airegin

[ 4:59] 6. March On, March On

[11:02] 7. Tenor Conclave

Prestige Profiles (Disc 2) 

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Vivian Buczek With Claes Crona Trio - Live At The Palladium

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 58:58
Size: 135,4 MB
Art: Front

(6:46)  1. Tea For Two
(8:14)  2. Caravan
(6:48)  3. Dearly Beloved
(5:06)  4. It's Alright With Me
(4:56)  5. Lush Life
(4:36)  6. Social Call
(5:54)  7. O Bêbado e a Equilibrista
(9:37)  8. A Time For Love
(6:57)  9. A Night In Tunisia

Swedish vocalist Vivian Buczek has been on the Scandinavian jazz scene for over a decade, releasing her first album, Can't We Be Friends (Skandia Music) in 2003. Live At The Palladium is her fourth solo album, though she's also recorded with the Artistry Jazz Group. The Palladium in question isn't the world- renowned London theatre, it's the one in Buczek's home town of Malmö, but this concert sparkles with such energy and vivacity that it could readily have graced the venue's more famous British counterpart. The Claes Crona Trio Crona on piano, Hans Backenroth on double bass and Johan Löfcrantz Ramsay on drums provides empathetic backing throughout the album. Guitarist Elias Källvik makes two appearances and impresses with a warm-toned and fluid solo on "Bêbado E A Equilibrista" and his gently swinging rhythm which, in company with Ramsay's brush work, adds drive and groove to "Dearly Beloved."

Trumpeter Peter Asplund joins Buczek for a vocal duet on an up-tempo arrangement of Cole Porter's "It's Alright With Me" but, although he has a pleasant voice, he's not in Buczek's class. As a trumpeter, however, he's on great form, whether playing a boppish muted solo on "Tea For Two," a slinky lead line on "Caravan" which also features a punchy bass solo from Backenroth or a romantic slow tempo solo on "A Time For Love." Buczek's a joy to hear; lively, energetic and in tune with the stories these songs are telling, she also shows a willingness to test her own abilities, even in this live setting, with some tricky tempos and changes. Her talent shines brightest on her version of Billy Strayhorn's glorious "Lush Life." Her performance shows a superb combination of technical skill, range and a sensibility that brings the lyric to life all with spare, sensitive accompaniment from the excellent Crona. Buczek and Asplund's ambitious arrangement of Johnny Mandel and Paul Francis Webster's "A Time For Love" runs a close second; the singer and musicians meet its challenges with great success, from Backenroth and Buczek's interplay to Asplund's trumpet solo. Buczek has grown in confidence and skill from album to album over the past decade. Live At The Palladium is her most mature and vibrant recording so far, its live atmosphere capturing the intimacy and spontaneity of the performance. A stylish collection of songs, a great band and a terrific singer-all captured live in the heart of Malmö. ~ Bruce Lindsay  http://www.allaboutjazz.com/live-at-the-palladium-vivian-buczek-crown-jewels-review-by-bruce-lindsay.php

Personnel: Vivian Buczek: vocals; Peter Asplund: flugelhorn, trumpet, vocals; Claes Crona: piano; Hans Backenroth: double bass; Johan Löfcrantz Ramsay: drums; Elias Källvik: guitar (3, 7).

Live At The Palladium

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Scott Hamilton - With Strings

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 57:59
Size: 133,1 MB
Art: Front

(5:28)  1. My Foolish Heart
(7:29)  2. Goodbye Mr. Evans
(6:07)  3. The Shining Sea
(6:09)  4. Angel Eyes
(5:27)  5. Heart's Desire
(5:15)  6. The Look of Love
(4:21)  7. Nancy (With the Laughing Face)
(5:26)  8. Young and Foolish
(6:48)  9. I Concentrate on You
(5:24) 10. Tonight I Shall Sleep With a Smile on My Face

Tenor saxophonist Scott Hamilton was so consistent on his many albums for Concord that none are throwaways. This particular one, though, is of lesser interest than most. Hamilton is backed by a 20-piece string section arranged by pianist Alan Broadbent, and largely sticks to slow ballads. His tone on tenor is typically beautiful and the music is quite tasteful, but it lacks much variety. No surprises occur in the arrangements (everything is pretty) and, although there is some double-timing, Hamilton's playing is consistently lyrical and a bit lazy, as if shy to shake up the proceedings. This CD is best experienced in small doses for, if played all the way through, the results are a bit sleepy and rather predictable. ~ Scott Yanow  http://www.allmusic.com/album/scott-hamilton-with-strings-mw0000096000

Personnel: Scott Hamilton (tenor saxophone); John Wittenberg, James Getzoff, Harris Goldman, Ken Yerke, John Wittenbert, Mari Tsumura-Botnick, Mari Tsumura, Robert Brosseau, Henry Ferber, Murray Adler, Juliann French, Israel Baker, Bonnie Douglas, Paul Shure, Gordon Marron Strings, Darius Campo, Endre Granat, Haim Shtrum (violin); Dennis Karmazyn, Ray Kramer (viola, cello); Carole Mukogawa, Dan Neufeld, Pamela Goldsmith, Maria Newman, Harry Shirinian (viola); Paula Hochhalter, Jodi Burnett, Fred Seykoura, Frederick Seykora (cello); Alan Broadbent (piano); Roy McCurdy (drums).

With Strings

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Richard Wyands Trio - Reunited

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:13
Size: 138,5 MB
Art: Front

(4:45)  1. Moment to Moment
(5:51)  2. Easy Living
(3:53)  3. Lady's in Love With You
(5:31)  4. Estate
(6:32)  5. Afternoon in Paris
(4:13)  6. How Long Has This Been Going On?
(5:30)  7. Blues for Pepper
(7:07)  8. I'm Just a Lucky So and So
(8:07)  9. Moon and Sand
(4:05) 10. Yesterdays
(4:32) 11. Alone Together

A fine pianist whose chord voicings are a little reminiscent of Red Garland, Richard Wyands has spent most of his career as a sideman. He started working in local clubs when he was 16, graduated from San Francisco State College, and gained experience playing in the San Francisco Bay area. Wyands, who was a sideman on a few early dates for Fantasy, spent time accompanying Ella Fitzgerald (1956) and Carmen McRae. He moved to New York in 1958, where he played with Roy Haynes, Charles Mingus (1959), Gigi Gryce's quintet, Oliver Nelson, Etta Jones, Eddie "Lockjaw" Davis, and Gene Ammons, among others. Wyands was associated with Kenny Burrell, with whom he toured extensively during 1964-1977, and has played with many other top musicians, including Freddie Hubbard, Zoot Sims, Frank Foster, the Illinois Jacquet Big Band, Benny Carter, Ernie Andrews, and Milt Hinton, among others. Richard Wyands has also headed his own trios, but has only had a handful of sessions as a leader thus far, including a 1978 date for Storyville and sessions for DIW (1992) and Criss Cross (1995). Bio ~ https://itunes.apple.com/us/artist/richard-wyands-trio/id175407892#fullText

Reunited

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Rosana Eckert - Small Hotel

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 59:59
Size: 137,6 MB
Art: Front

(5:07)  1. In the Still Of The Night
(7:49)  2. Lost In The Skies
(6:15)  3. Sayin' It Straight
(6:01)  4. This Carousel (The Stalker Song)
(5:21)  5. Dreaming
(3:55)  6. So In Love
(7:45)  7. Rapture
(2:45)  8. Lady Lee
(6:12)  9. Moon And Stars
(4:31) 10. It's Sand, Man
(4:12) 11. There's A Small Hotel

Six years have elapsed since Rosana Eckert released her ensemble debut, At the End of the Day. Seems like an eternity if you can't get enough of her unique talent. Finally the second chapter has been issued in the journey of self-discovery by the multi-faceted singer, pianist, French hornist, composer, arranger and currently teacher of vocal jazz at her alma mater, University of North Texas.  What makes her talent unique is the instrumental quality of her own vocal jazz. Simply put, she adds another horn to any combo she sings with. She can improvise with complete confidence: she can hear changes; has unerring pitch; a thin, flexible vibrato; a sure sense of time and phrasing; and an enviable range. Regarding the latter, her low tones are warm and soothing and I wish she'd explore them more often. Check her original, "Moon and Stars," with another special guest, Marvin Stamm. When his flugel-sounding trumpet blends with Eckert's wordless soaring, their timbres tend to coincide, leading to a haunting fadeout.

Talk about haunting, Eckert's wordless vocalizing on Harold Land's gorgeous "Rapture" finds her virtually disappearing into the tenor of Chris McGuire. It sounds like a two-horn sax section. Great mood-setting by bassist John Adams. For a tasteful sense of musical humor, try another original, "Lady Lee," written with her husband, Gary Eckert, and given a nice lift from clarinetist Chris McGuire. Hubby Gary also provides an unusual lift on Cole Porter's "So In Love," furnishing the only backing for Rosana: McFerrin-like vocal and percussive accompaniment. For the title tune, it's Rosanna all alone at her keyboard. How she can sing her own arrangement, which is totally re-harmonized, takes remarkable focus. Another attribute, which Marvin Stamm points out in his liner essay, is her ability to avoid conventional scat. She avoids its harshness by relying mainly on the sounds of b, d, w, and lots of vowels, connecting them with smooth voice. In other words, it's not hard scat, it's soft skitten. ~ Harvey Siders  http://jazztimes.com/articles/25636-small-hotel-rosana-eckert

Personnel: Rosana Eckert (vocals); Aaron Kelley (guitar); Chris McGuire (clarinet, bass clarinet, tenor saxophone); Brian Piper (piano, keyboards); Mike Drake (drums); Gary Eckert (percussion).

Small Hotel

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Ray Brown - Ultimate

Styles: Bop, Mainstream jazz
Year: 1999
File: MP3@320K/s
Time: 69:06
Size: 158,7 MB
Art: Front

(2:26)  1. Solo for Unaccompanied Bass
(3:52)  2. Tricotism
(3:15)  3. Tangerine
(3:51)  4. Much in Common
(3:55)  5. My One And Only Love
(5:31)  6. Bric-A-Brac
(4:26)  7. The Gravy Waltz
(3:28)  8. Gravy Blues
(3:38)  9. Will You Still Be Mine?
(5:32) 10. Lined With a Groove
(4:24) 11. Everything I have is Yours
(6:29) 12. Cool Walk
(6:15) 13. I Just Can't Fool Myself
(3:27) 14. Baubles, Bangles And Beads
(3:55) 15. All of You
(4:36) 16. (Back Home Again In) Indiana

Verve's Ultimate series unveils a new concept in the hackneyed concept of greatest-hits collections: Instead of compilation producers, these albums feature tracks selected by figures who either worked with or were influenced by the artists themselves. The results are much more than your average best-of compilations; they're closer to treatises on the immense influence that those artists exerted on generations to come, documenting exactly why they were special and deserve to be remembered. 

The Ultimate Ray Brown volume was compiled by Christian McBride, who concentrates on two of the greatest albums in Brown's discography: 1956's Bass Hit! (four tracks) and the Milt Jackson collaboration Much in Common (seven tracks). Though not quite an effective career overview, Ultimate Ray Brown does include many of the bassist's greatest moments on record. ~ John Bush  http://www.allmusic.com/album/ultimate-ray-brown-mw0000669651

Personnel: Ray Brown (cello); Herb Ellis, Kenny Burrell (guitar); Jerome Richardson (flute, baritone saxophone); Med Flory, Paul Horn, Bill Hood, Bob Cooper (woodwinds); Jack DuLong, Herb Geller, Seldon Powell, Yusef Lateef, Budd Johnson (alto saxophone); Conrad Gozzo , Don Fagerquist, Harry "Sweets" Edison , Jimmy Cleveland, Melba Liston, Paul Faulise, Britt Woodman (trumpet); Clark Terry, Ernie Royal, Joe Newman (cornet); Earle Warren, Harry Betts, Herbie Harper, Cannonball Adderley (trombone); Jack Cave (horns); Hank Jones , Jimmy Rowles, Tommy Flanagan (piano); Oscar Peterson (organ); Milt Jackson, Nat Adderley (vibraphone); Dick Shanahan, Albert "Tootie" Heath, Osie Johnson (drums).

Ultimate

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Various - Puttin' On The Ritz: Capitol Sings Irving Berlin

Bitrate: MP3@320K/s
Time: 69:03
Size: 158.1 MB
Styles: Vocal, Traditional pop, Easy Listening
Year: 1992/2007
Art: Front

[1:11] 1. Mary Martin, John Raitt - There's No Business Like Show Business
[1:47] 2. Judy Garland - Puttin' On The Ritz
[1:59] 3. Vic Damone - Marie
[3:19] 4. Dinah Shore - The Song Is Ended
[2:31] 5. Crew Chiefs - Heat Wave
[2:32] 6. Dick Haymes - Isn't This A Lovely Day
[2:31] 7. The Starlighters - Play A Simple Melody
[3:01] 8. Nat King Cole - What'll I Do
[3:07] 9. Bobby Darin - All By Myself
[4:39] 10. Nancy Wilson - You Can Have Him
[2:27] 11. Gordon MacRae - Steppin' Out With My Baby
[3:23] 12. Kay Starr - You're Just In Love
[3:08] 13. Andy Russell - Easter Parade
[2:30] 14. Johnny Mercer - Alexander's Ragtime Band
[2:44] 15. Peggy Lee - Cheek To Cheek
[2:37] 16. The Four Freshmen - Be Careful, It's My Heart
[2:50] 17. Betty Hutton - Blue Skies
[3:23] 18. Ian Bernard - How Deep Is The Ocean
[2:23] 19. Nat King Cole - Let's Face The Music And Dance
[3:27] 20. Sue Raney - How About Me
[2:25] 21. Vic Damone - Change Partners
[2:41] 22. Dean Martin - I've Got My Love To Keep Me Warm
[3:00] 23. Jo Stafford - White Christmas
[2:33] 24. Gordon MacRae - Always
[2:43] 25. Margaret Whiting - God Bless America

The songs of Irving Berlin are I-beams in the towering edifice of 20th century popular music. This sampler of predominately pop recordings from the Capitol catalog may serve as both a grab bag of enjoyable entertainments and a useful introduction to some of this composer's nicest tunes. Each of the 25 tracks perfectly illustrates the essence of a given song, and would be especially useful for anyone seeking to learn the rudimentary contours. Jazz is only marginally represented here, in spite of the fact that jazz grew up on Irving Berlin's often jazz-inspired melodies, many of which survive today primarily as jazz standards. Certainly jazz is manifested in Nat King Cole (with both trio and big band), Nancy Wilson, Johnny Mercer and bandleaders Red Norvo and Billy May. Several ex-big-band singers are in the mix, including Peggy Lee and Kay Starr. Jo Stafford sings like an angel, Dinah Shore's gentle rendering of "The Song Is Ended" comes across as a marvel of sensitivity, and Betty Hutton's handling of "Blue Skies" is among her prettiest performances on record. The timeline represented here (1944-1963) almost exactly traces the golden age of the post-WWII, pre-Beatles star pop vocalists. The core sample contains measurable amounts of Judy Garland, Mary Martin, Margaret Whiting, Dean Martin, Bobby Darin, Gordon MacRae, Dick Haymes and Vic Damone, as well as pearly white group vocals by the Starlighters, the Crew Chiefs, the Pied Pipers and the Four Freshmen. ~arwulf arwulf

Puttin' On The Ritz: Capitol Sings Irving Berlin

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Marian McPartland - Just Friends

Bitrate: MP3@320K/s
Time: 72:29
Size: 165.9 MB
Styles: Bop, Standards, Piano jazz
Year: 1998
Art: Front

[ 4:58] 1. Jeepers Creepers
[ 6:03] 2. I've Got A Crush On You
[ 5:26] 3. Some Time Ago
[ 5:15] 4. It's You Or No One
[ 4:20] 5. Just Friends
[ 7:02] 6. Twilight World
[ 5:50] 7. Lullaby Of The Leaves
[ 4:27] 8. Chrysalis (An Improvisation)
[10:16] 9. Gone With The Wind
[ 5:31] 10. Marian McPartland
[ 4:27] 11. There Will Never Be Another You
[ 5:30] 12. Lady Be Good
[ 3:17] 13. When The Saints Go Marching In

Some jazz fans casually dismiss duo piano performances as mere novelties that all too often result in train wrecks. With hundreds of Piano Jazz sessions and a few additional multiple piano releases to her credit, plus an amazing ability to complement the style of any musical partner, Marian McPartland should have long since destroyed this musical myth. She's joined by six different pianists on this delightful date, who she has considered among her favorite Piano Jazz guests; however, these recordings were made specifically for Concord. Tommy Flanagan joins her for a joyous run through "Jeepers Creeper" and a lyrical take of "I've Got a Crush on You." Renee Rosnes sits in for a swinging version of "Some Time Ago" and a bossa nova treatment of "It's You or No One," while Geri Allen and McPartland revive the forgotten chestnut "Lullaby of the Leaves" and also create an eerie duo improvisation, "Chrysalis." George Shearing and McPartland amuse themselves with a jaunty arrangement of the title track, then play Shearing's chart of McPartland's "Twilight World." But the cream of the duets is shared with old friend Dave Brubeck. Brubeck actually composed "Marian McPartland" on the way to his second Piano Jazz appearance; their wonderful improvisations around this catchy upbeat theme find both of them at the top of their game. McPartland wraps the CD alone with the Dixieland standard "When the Saints Go Marching In," though her relaxed approach serves as an emotional elegy to her late husband Jimmy. Jazz piano just doesn't get any better than this. ~Ken Dryden

Just Friends

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Peter Bernstein Trio - Monk

Bitrate: MP3@320K/s
Time: 59:00
Size: 135.1 MB
Styles: Straight ahead jazz
Year: 2009
Art: Front

[6:34] 1. Let's Cool One
[4:36] 2. Pannonica
[4:23] 3. Work
[4:47] 4. Brilliant Corners
[5:21] 5. In Walked Bud
[2:26] 6. Monk's Mood
[7:16] 7. Well You Needn't
[6:03] 8. Bemsha Swing
[4:39] 9. Played Twice
[2:25] 10. Ruby, My Dear
[6:24] 11. Blue 5 Spot
[4:01] 12. Reflections

How and by whom a piece of music is presented profoundly influences how it's heard. This would seem to be a truism, but it is one often contradicted. Case in point: a band begins playing a Duke Ellington standard and there's recognition and approval from the audience, the "I like Duke" effect. When this happens with a singer beginning "Satin Doll" the irony is lost. Ellington disliked those Johnny Mercer lyrics so much he rarely presented a vocal version of the piece himself. Which bring us to Thelonious Monk.

He never employed or recorded with a guitarist (save early bootlegged jam sessions with Charlie Christian and a big band with Howard Roberts) and his piano playing and arranging can hardly be called guitar-like. Hearing guitar play Monk's music is like hearing an orchestral version of a Wagner opera aria; it reveals a wholly different aspect of the music. While Monk's own versions put emphasis on the disjointed angularity and idiosyncrasies of the music, guitar interpretations bring out their lyrical, melodious side. Howard Alden is good at this, but until this CD, the only other guitarist with a knack for bringing out that side of Monk who devoted a whole album to it was Joshua Breakstone. Peter Bernstein's trio approach can be encapsulated in the title of the opening track: "Let's Cool One."

Like Ben Riley's Monk Legacy Band, which also employs a guitar (and no piano), this trio brings out the strong melodicism inherent in Monk's music. And Bernstein is a graceful guitarist who polishes the rough pianistic edges Monk gouged into his tunes, as can be heard on his solo version of "Monk's Mood." The trio pieces remain largely true to the tempos, an important part of Monk's conception, but bassist Doug Weiss and especially drummer Bill Stewart rile up the surface just enough to save these interpretations from being obsequiously polite. ~George Kanzler

Peter Bernstein: guitar; Doug Weiss: bass; Bill Stewart: drums.

Monk   

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Sonny Clark - The Best Of The Blue Note Years

Bitrate: MP3@320K/s
Time: 64:17
Size: 147.2 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[ 6:42] 1. Shoutin' On A Riff
[ 7:23] 2. Dial S For Sonny
[ 6:46] 3. Speak Low
[13:26] 4. Sonny's Crib
[ 6:30] 5. Softly, As In A Morning Sunrise
[ 9:19] 6. Cool Struttin'
[ 7:26] 7. Junka
[ 6:41] 8. Deep In A Dream

It took awhile, but Blue Note has finally seen fit to honor one of its best with a best-of disc. And thanks to rabid fans like John Zorn and hard bop fanatics the world over, pianist Sonny Clark has also gotten the kind of reissue program such label cohorts as Hank Mobley, Wayne Shorter, and Lee Morgan have been blessed with for some time. Culled from Clark's short but potent prime of 1957-1961, the first five sides here (out of nine) come from his particularly fertile first year, when such classic LP's as Dial "S" for Sonny, Sonny's Crib, and Sonny Clark Trio were cut. Besides an urbane slice of Clark's single note style ("Softy, As In a Morning Sunrise"), this batch features two of his marquee originals (the Far Eastern-tinged, noirish blues swingers "Sonny's Crib" and "Dial S For Sonny") and an exquisite early Coltrane vehicle ("Speak Low"). Things get even better with the title track to his hard bop masterpiece, Cool Struttin', and the Ike Quebec feature, "Deep In A Dream," from the equally fine Leapin' and Lopin' album. Add to that an all-star list of hard boppers like Mobley, Curtis Fuller, Donald Byrd, Art Farmer, Charlie Rouse, Paul Chambers, and Philly "Joe" Jones, and you have a very classy way of staving off the Clark shopping spree that is sure to come. ~Stephen Cook

The Best Of The Blue Note Years

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Lori Johnson - A Class Act

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 39:15
Size: 94,0 MB
Art: Front

(3:55)  1. If I Only Had A Heart (From "The Wizard Of Oz")
(1:42)  2. I Need A Man
(1:37)  3. Judy Garland Medley: Smile
(1:23)  4. Rock-A-Bye Your Baby
(2:12)  5. Over The Rainbow
(5:14)  6. Someone To Watch Over Me
(2:53)  7. Use What You've Got (From "The Life")
(4:11)  8. Good Morning Heartache
(3:38)  9. My Body (From "The Life")
(2:44) 10. Little Girl Blue
(3:48) 11. Bewitched
(1:33) 12. Children's Medley: Animal Crackers
(2:14) 13. Too Ra Loo Ra Loo Ra
(2:06) 14. Swinging On A Star

Pop jazz by a female singer/pianist. Smooth Jazz Category for radio programing.  Great vocals and band. ~ Joey Welz

Lori Johnson is a class act. One listen to her music and you'll know why she is Canadian American’s newest smooth jazz female star. ~ Joey Welz  http://www.cdbaby.com/cd/ljohnson

Personnel: Lori Johnson (vocals); John McDuffie, Jim Lum, Tom Bethke (guitar); Dave McKelvey (harmonica); Rob Kyle, Ray Hermann (flute,saxophone); Steve Weingart, Frank Josephs (piano); Dave Stone, Kirk Smith, Trey Henry (acoustic bass); Kurt Walter (drums, percussion); Kristina Hamilton, Linda McCrary (background vocals).

A Class Act

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Pete And Conte Candoli - "Two Brothers"

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 65:34
Size: 150,5 MB
Art: Front

(8:24)  1. A Night In Tunisia
(7:56)  2. Stompin' At The Savoy
(9:34)  3. Jitterbug Waltz
(8:58)  4. Willow Weep For Me
(6:59)  5. (Back Home Again In) Indiana
(7:10)  6. My Funny Valentine
(6:35)  7. I Can't Get Started Without You
(9:55)  8. St. Thomas

The elder of the trumpet-playing Candoli brothers, Pete initially made the greater impact of the two in Woody Herman's First Herd at the tail end of the swing era. A powerful, flamboyant soloist, his big moment came toward the end of "Apple Honey," where he would appear in a Superman costume and cut loose scorching, dissonant flurries of high notes. Pete started with the Sonny Dunham band in his 17th year (1940-1941) and passed through the bands of Will Bradley, Benny Goodman, Ray McKinley, Tommy Dorsey, Freddie Slack, and Charlie Barnet before settling into the Herman band from 1944 to 1946. He worked for Tex Beneke (1947-1949) and Jerry Gray (1950-1951) before moving to Los Angeles, where he became immersed in studio work with side trips into the Les Brown (1952) and Stan Kenton (1954-1956) bands. From 1957 to 1962, he co-led a group with Conte and later fronted his own band, while recording on his own for Columbia, Warner Bros., Kapp, and Somerset. He has been married to singers Betty Hutton and Edie Adams; with the latter, he formed a nightclub act in 1972 in which he sang, danced, led the orchestra, and played. He would continue to perform with Conte off and on into the 1990s. Although Pete's profile had been low and his trumpet technique slipped in later years, he could still burn in a swing-grounded manner in the '90s. ~ Richard S. Ginell, Rovi  https://itunes.apple.com/us/artist/pete-candoli/id1098927#fullText

Personnel:  Trumpet – Conte Candoli, Pete Candoli;  Bass – Wilbur Campbell;  Drums – Danny Shapera;  Piano – John Young; 

"Two Brothers"

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Randy Johnston - Homage

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 51:42
Size: 119,2 MB
Art: Front

(6:02)  1. All Or Nothing At All
(6:34)  2. Pat and Wes
(4:16)  3. The Cooker
(5:52)  4. Angel
(6:52)  5. Cedar's Place
(7:06)  6. Ruby
(5:14)  7. Lyresto
(6:08)  8. Society Red
(3:34)  9. Loco 47

Beginning with 1991’s Walk On and continuing through two more Muse dates (all of which are currently out-of-print), a few sets for High Note and then 1998’s Riding the Curve, guitarist Randy Johnston has championed his own take on the mainstream jazz guitar tradition, doing so with not much of any fanfare whatsoever. But with his second effort for Cincinnati’s J Curve label, Homage, things just might start to change for the better. Johnston believes it to be his best effort yet and I’d be hard pressed to argue. The premise here is quite simple- pick a few tunes and write a few more that have something to do with some of your influences as a player, gather a top-notch rhythm section, and then add a brassy horn section. Furthermore, hire a capable arranger in the guise of Rich Shemaria to put together the charts and you’ve got yourself a frontrunner. Johnston is, of course, the main soloist here and he carries the show with a warm and burnished tone and a coherent improvisational style that sagaciously uses space and patterns of tension and release. Also taking a few well-placed solos here and there are trumpeter Jim Rotondi, tenor man Eric Alexander, pianist Xavier Davis, and baritone saxophonist Nick Brignola.

The material is particularly strong and just a bit out of the ordinary to boot. For instance, Jimi Hendrix’s “Angel” acquires new life in a sweet version that barely resembles the original, while George Benson’s “The Cooker”, Kenny Burrell’s “Lyresto” and Dexter Gordon’s “Society Red” all benefit from the fact that they haven’t been performed to death in the past. Johnston’s own “Pat & Wes”, dedicated to Pat Martino and Wes Montgomery, features those mellow octaves endemic to both saluted players’ arsenals and “Cedar’s Place” has a beguiling structure and chord progression akin to Cedar Walton’s own aesthetic. Throughout it all however, Johnston maintains his own identity utilizing the tunes as a mere starting point. A more superior homage one couldn’t ask for, wouldn’t you say? ~ C.Andrew Hovan  http://www.allaboutjazz.com/homage-randy-johnston-j-curve-records-review-by-c-andrew-hovan.php

Personnel: Randy Johnston- guitar, Jim Rotondi- trumpet, Eric Alexander- tenor saxophone, Nick Brignola- baritone saxophone, Wayne Coniglio- trombone, Xavier Davis- piano, Nat Reeves- bass, Kenny Washington- drums

Homage

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Laurence Alison - Claro

Styles: Latin, Vocal
Year: 2015
File: MP3@320K/s
Time: 51:35
Size: 118,6 MB
Art: Front

(4:02)  1. Na Minha Canção
(3:23)  2. Corrida de Jangada
(4:06)  3. O Último Pássaro
(5:53)  4. Claro!
(5:13)  5. Somente uma Vez
(4:23)  6. Beatriz
(4:01)  7. Candeias
(4:03)  8. Canto Triste
(6:38)  9. Do Lado de Edu
(5:29) 10. Choro Bandido
(4:18) 11. Frozen Bones

Laurence Allison, singer, lyricist, librettist, studied the piano at five, entered the recording field at nine and sang in the Paul Kuenz Baroque choir, then, turned to Jazz music at eighteen. She performed in clubs and theaters (Elysée Montmartre, Chaillot Theater, Gaveau, Wagram, Rond-Point Theater, Méridien, Bataclan etc... and also in Germany and England). She recorded and participated in many festivals as a side woman with Warren Bernhart, Steve Grossman trio, Dave Burrell, Georges Arvanitas, Franck Wess, Reggie Johnson, French contemporary music composer André Mouret, Marc Steckar, world-electro-jazz group Alata, Herve Krief funk-electro group, Afro-Cuban orchestra Salsa y boogaloo. Many big bands as Gerard Badini or Laurent Mignard Duke Orchestra invited her. She has recorded with her own quartet and sextet. , she played and recorded with Alain Jean-Marie, Laurent Coq, Benoît Sourisse, Jean-Marie Ecay, Niels Lan Doky, Didier Lockwood, Marcel Azzola.
http://www.juste-une-trace.com/en/artists/laurence-allison.html

Claro

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Peter Herbolzheimer Orchestra - Toots Suite

Styles: Trombone Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 40:35
Size: 93,7 MB
Art: Front

(2:22)  1. After You've Gone
(3:16)  2. I Won't Dance
(3:48)  3. Teach Me Tonight
(2:03)  4. Love Is Just Around the Corner
(3:23)  5. Fat Man Boogie
(4:06)  6. Early Autumn
(2:51)  7. It Don't Mean a Thing (If It Ain't Got That Swing)
(2:40)  8. New York Special
(3:45)  9. Jumpin' At The Woodside
(3:29) 10. Mood Indigo
(2:44) 11. South of the Border
(2:49) 12. Hit the Road Jack
(3:13) 13. The Peach

There are no harmonicas on this 13-track CD, so why is it called Toots Suite? Well, it's not for Toots Thielemans. In 1969 Herbolzheimer founded his internationally successful Rhythm Combination & Brass. With this album, his American debut, Herbolzheimer thought, you know, brass: toot, toot. Don't make me explain it. Fortunately, his music is self-explanatory, and quite good if you're into retro, big-band instrumentals. Herbolzheimer hasn't strayed too far from some of the original charts, such as Billy May's "Fat Man Boogie," Woody Herman's "Early Autumn" and Count Basie's "Jumpin' at the Woodside." There's a track called "New York Special" that is a mild reworking of Neal Hefti's "Li'l Darlin'," and Herbolzheimer has the nerve to affix the trademark Basie postscript. No credits are given for soloists, and while John Clayton is listed among three bassists, there are no clues as to which track(s) he plays on. And in case you give a toot, the 20-piece band is disciplined and knows how to swing. ~ Harvey Siders  http://jazztimes.com/articles/16667-toots-suite-the-peter-herbolzheimer-orchestra

Personnel: Peter Herbolzheimer (trombone); Peter Tiehuis (guitar); Karl Drewo, Ferdinand Povel, Heinz Von Hermann, Ray Warleigh, John Ruocco (saxophone); Ack Van Rooyen, Allan Botschinsky, Jan Oosthof (trumpet); Otto Bredl, Roy Deuvall, Jiggs Whigham, Bart Van Lier (trombone); Rob Franken, Thomas Clausen (piano); Wolfgang Schlüter (vibraphone); Bruno Castellucci (drums).

Toots Suite

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