Marta Król - The First Look

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 48:58
Size: 112,6 MB
Art: Front

(4:48)  1. Like A Lover
(4:11)  2. April In Paris
(6:05)  3. The Way You Look Tonight
(3:53)  4. Never Will I Marry
(4:33)  5. I Knew I Loved You (Deborah's Theme From Once Upon A Time In America )
(4:36)  6. Summer Soft
(5:55)  7. Wives And Lovers
(5:25)  8. The Way We Were
(3:58)  9. Light My Fire
(5:28) 10. The First Time Ever I Saw Your Face

Born  in Bytom, Poland. Is a classically trained and graduated viola player  from Chopin`s Music School in Bytom, but during her education without a doubt it was her voice that became her main instrument.

Winner of many important vocal festivals in Poland, including:  1st Prize and a Special  Polish Television Prize at the  Young Vocalists Fesival – Debuts in Lublin (2005 and 2007);  Grand Prix at the national English Song Festival  in Brzeg (2007);  Special Prize at International Jazz Festival New Hope of Jazz in  Lomza (2009).

Her  first album  The First Look  has appeared in May 2011, was reviewed by many critics and journalists and nominated  for the most prestigious music awards in the country: The Third Program Of Polish Radio  Mateusz Award (category Debut of  the Year);  Phonographic Academy Fryderyk Award (category Jazz  Debut Recording of  the Year).

Album was recorded  by  leading jazz musicians  of the younger  generation in Poland, extraordinary instrumentalists composed of:  Pawel Tomaszewski – piano, rhodes piano;  Dawid Glówczewski – saxophones;  Andrzej Swies- bass;  Pawel Dobrowolski- drums;  Tomasz Kalwak- arrangements, production, keyboards

“Played  and processed simply and with savor at the same time. Her low and warm voice with faultless intonation draws attention. It is unusual, amazing  singing and  an excellent album!”~ Jazz Forum  The European Jazz Magazine

“ I'm very impressed. I look forward to her future long career. Unbelievable how good  is The First Look ”~ Marek Niedzwiecki  Legend of polish musical journalism

Vocalist  is promoted by  the legendary Third Program of Polish Radio. Chosen to perform at the oldest and the most prestigious  music festival in the country, Polish Song Festiwal  in Opole (2012). In april 2014 appears her second album Thank God I`m a Woman, released by Universal Music,which contains authorial songs and a few jazz standards from the past century presenting new interpretations. On the album appears also trio of leading  jazz musicians in the country and other special guests. http://martakrol.pl/biografia/lang=en

The First Look

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Christian Jacob - Beautiful Jazz: A Private Concert

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 56:51
Size: 130,6 MB
Art: Front

(5:33)  1. How Long Has This Been Going On
(3:32)  2. That's All
(5:05)  3. It Might as Well Be Spring
(2:14)  4. Stravinsky's Etude No. 4 in F# Major
(5:53)  5. My Romance
(5:14)  6. The Surrey With the Fringe On Top
(4:34)  7. Tea for Two
(4:33)  8. I'm Old Fashioned
(3:37)  9. One Note Samba
(6:04) 10. Body and Soul
(4:18) 11. September Song
(2:47) 12. Giant Steps
(3:22) 13. Till the Clouds Roll By

There was a time when pianist Christian Jacob thought he'd be making his mark as a classical pianist. That's perfectly understandable considering the fact that he was playing piano at age four and studying at the Metz conservatory at age six. By the time he was in college, studying at the Paris Conservatory, he was winning awards and prepping for piano competitions.

Jacob was following the prescribed course that classical piano hopefuls typically follow, but his destiny was with jazz. Jacob was taken with the work of Dave Brubeck, Oscar Peterson and other jazz luminaries early on, but it took him some time to realize that this music was his true calling. Nowadays, it's hard to imagine that Christian Jacob could've ever doubted that his fate was tied to jazz. As a sideman, Jacob has worked with a long list of greats, from trumpeter Maynard Ferguson to vibraphonist Gary Burton to arranger/bandleader Bill Holman. He's inextricably linked to the acclaimed Tierney Sutton Band, working side by side with the nominal leader on her incredibly well-received albums, and he's gained some traction as a leader through his work with the Christian Jacob Trio. He's even worked with symphony orchestras on occasion. In short, he's done a hell of a lot for a guy who didn't figure on a career in jazz, but he's never put out a solo piano disc; that is, until now.

Beautiful Jazz: A Private Concert is Jacob's love letter to the genre that whisked him away from the waiting arms of the classical world. He tackles old favorites here, revisiting and/or revising some of the very material that drew him toward jazz in the first place. Jacob brings a sense of wonder to "How Long Has This Been Going On?," tackles "That's All" in seven, muses on "My Romance," and delivers an information-dense "Surrey With The Fringe On Top." Jacob also tips his cap to pianist Bill Evans with "I'm Old Fashioned," references his classical upbringing through Stravinsky's "Etude No. 4 in F# Major," and delivers a wonderful "September Song" arrangement that's devoid of improvisation. This whole program was recorded at a private concert at Zipper Hall in Los Angeles, with Jacob playing on a Hamburg Steinway Model D Grand. Both the scene and the instrument helped to shape this album, but it's Jacob who delivers on the promise of the title. Beautiful Jazz it is. ~ Dan Bilawsky  http://www.allaboutjazz.com/beautiful-jazz-a-private-concert-christian-jacob-wilderjazz-review-by-dan-bilawsky.php

Personnel: Christian Jacob: piano.

Beautiful Jazz: A Private Concert

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Martin Taylor - Spirit of Django

Styles: Guitar Jazz, Gypsy Jazz
Year: 1994
File: MP3@320K/s
Time: 60:32
Size: 139,1 MB
Art: Front

(5:03)  1. Chez Fernand
(5:33)  2. Minor Swing
(6:38)  3. Night and Day
(4:45)  4. Nuages
(5:00)  5. James
(5:48)  6. Double Top
(5:15)  7. Django's Dream
(5:38)  8. Swing 42
(5:14)  9. Lady Be Good
(6:29) 10. Honeysuckle Rose
(5:04) 11. Johnny and Mary

In the 1990s, jazz tribute albums could be incredibly predictable, with young tenor saxophonists paying tribute to John Coltrane by emulating his tone and playing his best-known songs exactly like he played them, or young trumpeters saluting Miles Davis by trying to sound like a carbon copy of him on yet another version of "So What" or "Solar." Spirit of Django is Martin Taylor's tribute to fellow guitarist Django Reinhardt, and thankfully, this is one tribute album that's interesting and unpredictable instead of cliché-ridden. Though Taylor's love of Reinhardt's legacy is evident throughout the album, the guitarist never sounds like an outright clone. 

His individuality comes through on Reinhardt pieces (including "Nuages" and "Minor Swing"), as well as Fats Waller's "Honeysuckle Rose" and the standards "Night and Day" and "Lady Be Good." To his credit, Taylor makes some unlikely choices. Pat Metheny's "James," for example, isn't something you'd expect to hear on a Reinhardt tribute, yet Taylor's interpretation fits in perfectly. This excellent CD is highly recommended to admirers of both Taylor and Reinhardt. ~ Alex Henderson  http://www.allmusic.com/album/spirit-of-django-mw0000646679

Personnel: Martin Taylor, John Goldie (acosutic guitar); Jack Emblow (accordion); Dave O'Higgins (soprano & tenor saxophones); Alec Dankworth (acoustic bass, cabasa); James Taylor (snare drum).

Spirit of Django

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Shirley Horn With Strings - Here's to Life

Styles: Vocal And Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 62:11
Size: 145,0 MB
Art: Front

(5:37)  1. Here's to Life
(7:27)  2. Come a Little Closer - Wild Is the Wind
(3:23)  3. How Am I to Know
(6:45)  4. A Time for Love
(4:36)  5. Where Do You Start
(3:32)  6. You're Nearer
(5:09)  7. Return to Paradise
(5:47)  8. Isn't It a Pity
(6:09)  9. Quietly There
(6:02) 10. If You Love Me
(7:38) 11. Summer (Estate)

Shirley Horn's meeting with a string section and an orchestra arranged by Johnny Mandel has some exquisite moments although sometimes it is just overly sweet. Horn recorded with her trio (which includes bassist Charles Ables and drummer Steve Williams) first, emphasizing slow ballads. Mandel used the pianist-vocalist's improvisations and chord voicings as the basis for his charts and trumpeter Wynton Marsalis took guest solos on "A Time for Love" and "Quietly There." 

Shirley Horn fans will love this CD (which includes such numbers as "Here's To Life," "How Am I To Know" and "If You Love Me") but no real surprises or contrast occurs. 

~ Scott Yanow  http://www.allmusic.com/album/heres-to-life-mw0000072357

Personnel: Shirley Horn (vocals, piano); Wynton Marsalis (trumpet); Charles Ables (bass instrument); Steve Williams (drums); Johnny Mandel.

Here's to Life

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Pat Coil - Just Ahead

Styles: Guitar And Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 41:41
Size: 95,9 MB
Art: Front

(6:32)  1. Big Spring
(5:35)  2. Just Ahead
(4:16)  3. A Higher Road
(5:28)  4. Lady J
(4:36)  5. Escape Clause
(4:20)  6. More Than the Eye Can See
(5:49)  7. Show Me
(5:02)  8. For Woody

Ron Komie's electric strings and Gerald Albright's sax add spectacular punch to keyboardist Pat Coil's multi-faceted second effort, the live to two-track Just Ahead. Coil is once again all aces, providing a textbook example of how to reconcile improvisational training with accessible funk, jazz with burning soul, and spirited salsa. Passionate one minute and frolicsome the next, Coil seems to enjoy crossing various lines, heading to the tropics with Andy Narell one minute, cooling his jets on ballads the next, and then exploding for several bouncy free-for-alls. It is fitting to feature Jimmy Johnson on bass, since the typical Coil composition is reminiscent of the best of Flim & the BBs, taking simple lines and twisting them into adventures. Adding to the fun here are John Patitucci, John Beasley, Bob Sheppard, and the wistful flute of Jim Walker. With Just Ahead, Coil is poised to become a master contemporary player and composer.
~ Jonathan Widran  http://www.allmusic.com/album/just-ahead-mw0000076130

Personnel: Pat Coil (electric guitar, piano); George Doering (guitar, acoustic guitar); Dean Parks (guitar, electric guitar); Ron Komie (electric guitar); Jim Walker (flute); Bob Shepard, Gerald Albright, Brandon Fields (saxophone); John Beasley (synthesizer); Jimmy Johnson (electric bass, fretless bass); John Patitucci (electric bass); John "J.R." Robinson , William Kennedy (drums); Andy Narell (steel drum); Luis Conte (percussion).

Just Ahead

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Ruby Braff - Being With You: Ruby Braff Remembers Louis Armstrong

Bitrate: MP3@320K/s
Time: 61:54
Size: 141.7 MB
Styles: New Orleans jazz, Trumpet jazz
Year: 2006
Art: Front

[ 9:29] 1. I Never Knew
[ 4:18] 2. Little One
[11:57] 3. Keepin' Out Of Mischief Now
[ 4:49] 4. If I Could Be With You (One Hour Tonight)
[ 4:04] 5. Hustlin' And Bustlin' For Baby
[ 9:16] 6. When Your Lover Has Gone
[ 5:21] 7. Twelfth Street Rag
[ 9:01] 8. Royal Garden Blues
[ 3:35] 9. When It's Sleepy Time Down South

Although billed as a tribute to Louis Armstrong, this 1996 recording by the great cornetist Ruby Braff is not all it seems to be. Several of the swing standards (such as "I Never Knew," "Little One" which Braff sings" and "Royal Garden Blues") do not have much to do with Armstrong; there are no attempts to pay direct homage to any of his recordings, and the arrangements (by Braff and trombonist Dan Barrett) look more toward Count Basie and Lester Young than to Satch. In addition, there is no explanation of the "Being With You" subtitle, nor any song with that name. The lineup of musicians is impressive: cornetist Jon-Erik Kellso, Barrett, Scott Robinson on baritone and clarinet, veteran tenorman Jerry Jerome, guitarist Bucky Pizzarelli, pianist Johnny Varro, bassist Bob Haggart and drummer Jim Gwin; the sidemen get almost as much solo space as the leader. Braff plays well, and the overall results are pleasing but not quite up to the level of the cornetist's more significant dates. ~Scott Yanow

Being With You: Ruby Braff Remembers Louis Armstrong

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The Andrews Sisters - The Ultimate Andrews Sisters

Bitrate: MP3@320K/s
Time: 75:49
Size: 173.6 MB
Styles: Vocal harmonies, Pop
Year: 2003
Art: Front

[2:56] 1. I'll Be With You In Apple Blossom Time
[2:49] 2. Beer Barrel Polka
[2:55] 3. Don't Sit Under The Apple Tree (With Anyone Else But Me)
[2:37] 4. Last Night On The Back Porch
[1:52] 5. Proper Cup Of Coffee
[2:08] 6. Hooray For Love
[3:18] 7. Back In Your Own Backyard
[2:45] 8. Ti-Pi-Tin
[2:42] 9. Bei Mir Bist Du Schön
[2:58] 10. Nevertheless
[2:53] 11. Let There Be Love
[2:49] 12. I Want To Linger
[3:01] 13. Rum And Coca-Cola
[2:45] 14. Don't Bring Lulu
[2:46] 15. Begin The Beguine
[2:04] 16. Melancholy Moon
[2:48] 17. Beat Me Daddy, Eight To The Bar
[3:04] 18. Bei Mir Bist Du Schön
[3:12] 19. Hold Tight (Want Some Sea Food, Mama)
[2:23] 20. Tea For Two
[2:41] 21. Boogie Woogie Bugle Boy
[2:09] 22. When Francis Dances With Me
[2:57] 23. That Naughty Waltz
[1:57] 24. Keep Your Skirts Down, Mary Ann
[2:14] 25. The Song Is You
[3:10] 26. Younger Than Springtime
[2:54] 27. Ferryboat Serenade
[2:49] 28. Show Me The Way To Go Home

During a time when teenagers were doing the jitterbug and Uncle Sam was asking young men to enlist, The Andrews Sisters were America’s most popular female singing group. Patty, the youngest sister, was a loud and energetic blond who headed the group with her confident vocals. The middle sister was Maxene, a brunette, whose harmonic range gave the impression of four voices instead of three. Finally, completing the trio was the eldest, LaVerne, a strong willed red head with a witty sense of humor and an eye for fashion.

The Andrews Sisters versatile sound and range in genres explains their longevity in the music industry and popularity with people all over the world. They had major hits in nearly all types of music ranging from swing to country-western. This tremendous popularity did not stop in the music business. The trio could also be found performing in radio series, commercials, Hollywood movies and on Broadway.

Born in Minnesota, the three Andrews sisters developed a love for music at an early age. As children their first experience with music occurred when LaVerne had her two younger sisters sing a musical note around the family’s piano. This experience awakened the girls love for music and they began spending all of their free time singing and mimicking the successful singers of the time. Some of their first major influences included the Boswell Sisters, Ella Fitzgerald and Mel Torme.

The girls got their start when Larry Rich hired them to go on tour with his 55 member troupe. In 1932 they stopped touring with Rich, but the girls continued to sing at fairs, vaudeville shows and club acts. While touring the girls worked hard on their craft and rehearsed daily, sometimes practicing in the back of their father’s Buick while driving to the next show. After six years of living on the road the girls had their first major success with “Bei Mir” which sold 350,000 copies. The song held the Billboards No. 1 slot for five weeks. This achievement established The Andrews Sisters as successful recording artists and they became celebrities.

The Ultimate Andrews Sisters 

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Ivan Lins - America, Brasil

Bitrate: MP3@320K/s
Time: 51:31
Size: 117.9 MB
Styles: Brazilian jazz
Year: 2015
Art: Front

[3:56] 1. Cantoria
[4:26] 2. Joana Dos Barcos
[2:51] 3. Luxo Do Lixo
[4:02] 4. E Ai
[4:07] 5. Cantor Da Noite
[3:45] 6. Do Olapoque Ao Chui
[3:56] 7. Que Auer De Mim
[4:12] 8. Coragem Mulher
[4:40] 9. Voar
[3:24] 10. Agua Doce
[3:41] 11. Enquanto A Gnete Batuca
[4:13] 12. America, Brasil
[4:12] 13. Do Nosso Amor Tao Sincero-Vitorioso

Born in Rio de Janeiro, the son of a Naval engineer, Ivan (pronounced E-von) spent several formative years in Cambridge, Massachusetts, while his father completed graduate studies at M.I.T. Relocating to his native Brazil, Ivan earned a degree and had a career in professional sports in mind before discovering his passion and natural talent for music. Among his earliest compositions, 'Madalena,' was recorded by the legendary Brazilian artist Elis Regina and was an enormous hit in that country and throughout Europe.

In the early 1980's, the enduring love affair between American and Brazilian musicians took a new turn when it was announced that super-producer Quincy Jones was looking for a special Brazilian touch on an upcoming album for jazz guitar great George Benson. Earning tremendous international respect, Lins has been recorded by many American stars, including Ella Fitzgerald, Sarah Vaughn, Carmen McRae, Nancy Wilson, Patti Austin, Take Six, Lee Ritenour, Dave Grusin and Sergio Mendes.

Like most Brazilian artists, Lins has had to deal with pressures from the Brazilian military regime of the last two decades. Yet luck has been on his side, for he has never had a song cut out or censored. However, he admits that 'when you are suffering, your art takes on greater density.'

America, Brasil

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Chuck Wayne, Joe Puma - Interactions

Bitrate: MP3@320K/s
Time: 59:22
Size: 135.9 MB
Styles: Post bop, Guitar jazz
Year: 1974/2012
Art: Front

[5:52] 1. My Favourite Things
[4:28] 2. Fly Me To The Moon (In Other Words)
[4:21] 3. Let's Do It Again
[5:18] 4. Little Joe Waltz
[7:00] 5. Body And Soul
[4:43] 6. Lester Leaps In
[5:43] 7. Here's That Rainy Day
[4:36] 8. Baubles, Bangles And Beads
[4:47] 9. Satin Doll
[5:13] 10. There Will Never Be Another You
[7:16] 11. I'll Get Along

Guitarist Chuck Wayne came to prominence in the 1940's & 50's. He was best known for his work with Woody Herman and George Shearing. He was also Tony Bennett's musical director from 1953-57. Joe Puma was a contemporary of Chuck and fellow guitarists Jimmy Raney and Johnny Smith, winning the Metronome New Star award in 1957. The two guitarists teamed up in 1973 for some duet playing in the tradition of Barnes/Kress and Ellis/Pass and this resulting album is one of the best of the genre.

Interactions

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Zoot Sims - Bohemia After Dark

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 62:36
Size: 143,9 MB
Art: Front

(4:53)  1. 9:20 Special
(5:13)  2. The Man I Love
(4:44)  3. 55th and State
(5:08)  4. The Blue Room
(4:17)  5. Gus's Blues
(5:33)  6. That Old Feeling
(3:34)  7. Bohemia After Dark
(5:21)  8. Woody 'n You
(6:44)  9. I Don't Stand a Ghost of a Chance with You
(5:14) 10. September in the Rain
(3:31) 11. The Nearness of You
(4:05) 12. Skylark
(4:13) 13. Two Sleepy People

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set.

After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. 

Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Bio  https://itunes.apple.com/us/artist/zoot-sims/id408729#fullText

Personnel: Zoot Sims (tenor saxophone); Al Cohn (baritone saxophone); Nick Travis (trumpet); Jimmy Cleveland, Bob Brookmeyer (trombone); Elliot Lawrence (piano); Gus Johnson (drums).

Bohemia After Dark

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Joe Sample - The Pecan Tree

Styles: Vocal And Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 54:18

Size: 126,1 MB

Art: Front

(5:24)  1. The Pecan Tree

(4:42)  2. Hot And Humid

(5:16)  3. No One But Myself To Blame

(5:12)  4. X Marks The Spot (Marie Laveau)

(5:20)  5. Fool's Gold

(5:00)  6. Spanish Moss

(5:00)  7. In A Heartbeat

(5:16)  8. El Dorado

(5:27)  9. With These Hands

(3:41) 10. The Texas Two Step

(3:55) 11. Memories

Wow! I don't think there is a better description for this new recording from Joe Sample. I truly believe that this is the best jazz CD that I have heard in the past year. If you're a new listener to jazz, Sample is an accomplished composer, keyboardist and co-founder of the Crusaders. The Pecan Tree is his newest and quite possibly finest recording. For the Pecan Tree, Sample has ventured back to his roots, down to the city of his youth Houston, Texas. It was in Houston that Sample first began playing piano at age five. The Pecan Tree is a CD of themes all of them set in the deep south. The track titles each evoke the geographical atmosphere of Sample's hometown. With titles like "Hot & Humid," "The Texas Two Step," "X Marks the Spot (Marie Laveau)," "Spanish Moss," "El Dorado" and "The Pecan Tree," Sample transports the listener to the area west of the delta, a hot, humid cauldron that has created a musical stew. This stew was consumed heartily by Sample. He soaked up its very essence and fibre and ahs been serving it up to us, the public for over four decades.

The Pecan tree features seven stunning instrumental tracks, but is by no means an instrumental journey. Four superb tracks feature vocals. "With These Hands," an old R&B song is given a wonderful interpretation by ex-Shalamar vocalist Howard Hewett. Hewett also handles the vocals on "In A Heartbeat" a fantastic groove co-written by Sample's son Nicklas. This song has the hooks and feeling that could make it a number 1 pop hit. The remaining two vocal performances feature Lizz Wright, a singer just signed to the Verve label. Ms. Wright (who melodious voice will soon be heard across the land on the radio) provides the vocals on "Fool's Gold" and "No One but Myself to Blame" both of which feature music written by Sample and lyrics written by renowned singer/songwriter Jonathan Brooke. For a trip to jazz heaven or if you're just trying to bring the local jazz club to your living room, sit back and listen to the smooth grooves of The Pecan Tree. ~ Mike Perciaccante  http://www.allaboutjazz.com/the-pecan-tree-joe-sample-verve-music-group-review-by-mike-perciaccante.php

Personnel: Howard Hewett: vocals; Joe Sample: piano; Jay Anderson: bass; Larry Aberman: drums; Lenny Castro: percussion; Paulinho Da Costa : percussion; James Gadson : drums; Dean Parks: guitar; Liz Wright: vocals.

The Pecan Tree

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Erroll Garner Trio - 'Play, Piano, Play' 1950 - 1953

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 65:07
Size: 150,3 MB
Art: Front

(3:47)  1. The Way You Look Tonight
(2:50)  2. Sophisticated Lady
(2:23)  3. Fine And Dandy
(3:13)  4. The Petite Waltz Bounce
(3:00)  5. Body And Soul
(2:40)  6. I Never Knew
(3:15)  7. Please Don't Talk About Me When I'm Gone
(2:25)  8. Play, Piano, Play
(2:43)  9. Ain't She Sweet?
(3:08) 10. Ja-Da
(2:49) 11. I Didn't Know
(2:43) 12. You're Blase
(3:19) 13. It's The Talk Of The Town
(3:09) 14. Undecided
(3:00) 15. Summertime
(2:27) 16. You're Driving Me Crazy
(4:01) 17. 'S Wonderful
(3:23) 18. St. Louis Blues
(3:19) 19. Robbin's Nest
(3:39) 20. Frenesi
(3:43) 21. Groovy-Day

Seeing as "Play Piano Play" was one of Erroll Garner's signature romp tunes, it's no surprise that at least four different Garner compilations have appeared bearing that title. What is surprising is that the Giants of Jazz label released two entirely different packages three years apart using the same title. The 1998 Play Piano Play contains material recorded during the years 1944-1947. The 1995 Play Piano Play 1950-1953 (which is the subject of this review) concentrates upon the marvelous trio recordings Garner made for the Columbia label in Hollywood and New York between October 7, 1950 and March 30, 1953. 

There are two trios at work in this chronologically chaotic compilation. Material pulled from the 1951 and 1952 recording sessions involved bassist John Simmons and drummer Shadow Wilson. The 1953 trio (tracks 13, 17, 18, 20 and 21) had bassist Wyatt Ruther and drummer Fats Heard. This wonderful stash of vintage, mainstream piano jazz is guaranteed to soothe, energize, please and entertain. ~ arwulf arwulf  http://www.allmusic.com/album/play-piano-play-1950-1953-mw0001050094

'Play, Piano, Play'1950 - 1953

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Charlie Parker - With Strings (Deluxe Edition) [2-Disc Set]

Originally released in 1950 as two albums, saxophonist Charlie Parker's sessions with a classical string session proved to be his bestselling recordings in his lifetime. This two-disc Deluxe Edition features the original 14 songs including "Summertime," "I Didn't Know What Time It Was," "Easy to Love," "Everything Happens to Me," and "Laura," while the bonus tracks include "Autumn in New York," "Rocker," and "Stella By Starlight"; the second disc consists of 19 alternate takes. The enclosed booklet contains David Sanborn and Phil Schaap's essays on the influence and enduring appeal of Parker's masterpiece.

Album: With Strings (Deluxe Edition) [disc 1]

Bitrate: MP3@320K/s

Time: 75:13

Size: 172.2 MB

Styles: Saxophone jazz

Year: 1950/2015

[3:29] 1. Just Friends

[3:14] 2. Everything Happens To Me

[3:05] 3. April In Paris

[2:45] 4. If I Should Lose You

[2:45] 5. Summertime

[3:11] 6. I Didn't Know What Time It Was

[3:09] 7. Dancing In The Dark

[2:56] 8. Laura

[3:17] 9. They Can't Take That Away From Me

[3:05] 10. (You Came Along From) Out Of Nowhere

[3:37] 11. East Of The Sun (And West Of The Moon)

[3:28] 12. Easy To Love

[3:33] 13. I'm In The Mood For Love

[3:01] 14. I'll Remember April

[3:30] 15. Temptation

[3:28] 16. Autumn In New York

[3:06] 17. Lover

[2:55] 18. Stella By Starlight

[2:56] 19. Repetition

[2:54] 20. What Is This Thing Called Love

[3:14] 21. April In Paris

[2:45] 22. Repetition

[2:25] 23. Easy To Love

[3:12] 24. Rocker

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Album: With Strings (Deluxe Edition) [disc 2]

Bitrate: MP3@320K/s

Time: 65:25

Size: 149.8 MB

Styles: Saxohone jazz

Year: 1950/2015

Art: Front

[0:42] 1. Just Friends (Take 1)

[3:46] 2. Just Friends (Take 2)

[4:10] 3. Just Friends (Take 3)

[3:18] 4. Everything Happens To Me (Take 1)

[3:52] 5. April In Paris (Take 1)

[3:31] 6. April In Paris (Take 2)

[3:05] 7. Summertime (Take 1)

[4:00] 8. Dancing In The Dark (Take 2)

[3:27] 9. Dancing In The Dark (Take 3)

[3:25] 10. Dancing In The Dark (Take 4)

[2:56] 11. Laura

[3:25] 12. They Can't Take That Away From Me (Take 1)

[3:26] 13. Out Of Nowhere (Take 1)

[3:49] 14. East Of The Sun (Take 1)

[3:35] 15. Easy To Love (Take 1)

[3:26] 16. I'm In The Mood For Love

[3:17] 17. I'll Remember April

[3:56] 18. Temptation (Take 1)

[4:11] 19. Stella By Starlight (Take 1)

With Strings (Deluxe Edition)Disc 1,Disc 2                

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Carol Welsman - Lucky To Be Me

Bitrate: MP3@320K/s
Time: 60:04
Size: 137.5 MB
Styles: Jazz vocals
Year: 1995/2014
Art: Front

[3:54] 1. Lucky To Be Me
[6:02] 2. You Taught My Heart To Sing
[6:57] 3. Garota D' Ipanema
[8:01] 4. Don't Get Around Much Anymore
[5:30] 5. May I Come In
[5:49] 6. Once Upon A Summertime
[6:18] 7. Heartbreaker
[7:46] 8. I Got Rhythm
[6:42] 9. Things Ain't What They Used To Be
[3:02] 10. This Lullaby

Carol Welsman is an internationally acclaimed vocalist and pianist whose expressive vocal styling and dynamic stage presence have captivated audiences around the world. She has sold 60,000 jazz albums in Canada, a feat accomplished by few jazz artists; Nominated for Best Keyboardist and Best Female Vocalist at the 2006 Canadian Smooth Jazz Awards; Nominated for Best Vocalist and for Best Original Composition “You take me away” at the 2005 Smooth Jazz Awards (Canada). Four Juno Award nominations (Canadian Grammys) for her five CDs; Featured artist in “The Language of Love” Documentary (1 hr. ) aired on CBC Canada, 2005, with special guests Herbie Hancock, Djavan, ad Oscar Castro Neves. Has written lyrics for various international pop stars including “Baby Close Your Eyes” recorded by Celine Dion on her 2004 “Miracle” CD, and for Ray Charles. “This Lullaby”, Co-hosted the 2000 Billboard Jazz awards with Herbie Hancock on BETStyle Blending international rhythms and languages showcases her ability to cross musical boundaries while remaining within the jazz idiom; Refreshing take on arrangements breathes new life into jazz and pop song classics, in a style that’s all her own; Interpretations range from sultry and warm to infectiously energetic; Vocals run the gamut from being hauntingly reminiscent of Peggy Lee, to swinging a la Ella; Block chord piano/vocal improvisations set her apart in today’s jazz world.

Lucky To Be Me

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Andy Farber & His Orchestra - This Could Be The Start Of Something Big

Bitrate: MP3@320K/s
Time: 59:03
Size: 135.2 MB
Styles: Swing, Big band
Year: 2010
Art: Front

[4:12] 1. Bombers
[4:45] 2. Space Suit
[3:49] 3. Body & Soul
[3:39] 4. This Could Be The Start Of Something Big
[5:11] 5. It Is What It Is
[4:00] 6. Broadway
[3:45] 7. Roll 'em Pete
[4:49] 8. Midnight, The Stars & You
[4:21] 9. 52nd Street Theme
[4:26] 10. Short Yarn
[3:48] 11. The Man I Love
[3:35] 12. High Anxiety
[4:18] 13. Jack The Bellboy
[4:18] 14. Seems Like Old Times

The sight and sound of one of the classic big bands in full flight must have been something to behold. For those fans of big band jazz who never got to experience such a thing, as well as for those who did and remember it fondly, Andy Farber And His Orchestra bring the sound back with a bang on This Could Be The Start Of Something Big.

Saxophonist Farber arranged and conducted all of the tunes, as well as writing four numbers. As a former member of the Lincoln Center Jazz Orchestra and Musical Director, arranger or conductor for Jon Hendricks, Joe Lovano, Shirley Horn and B.B. King, to name just a few, Farber's credentials for this project are strong. He takes what drummer Alvester Garnett, who wrote the liner notes, terms an "Ellingtonian aesthetic" of writing for specific players, while emphasizing the ensemble rather than soloists. The approach works superbly here—the soloists are impressive, but it's the sound of the full 18-piece band that really leaves a lasting, positive, impression.

This Could Be The Start Of Something Big doesn't steer the big band into any new territory, but it certainly emphasizes its vitality and relevance. Farber's Orchestra swings like a big band should, whether playing standards or interpreting Farber's originals. It's a terrific ensemble, with a strong and engaging sound. ~Bruce Lindsay

Andy Farber: alto saxophone, tenor saxophone, baritone saxophone, flute; Chuck Wilson: alto saxophone; Jay Brandford: alto saxophone; Dan Block: tenor saxophone, clarinet; Marc Phaneuf: tenor saxophone; Kurt Bacher: baritone saxophone; Brian Paresi; Bob Grillo: guitar; Kenny Ascher: piano; Jennifer Vincent: bass; Alvester Garnett: drums; Mark Sherman: vibraphone (8); Jon Hendricks: vocals (4, 7); John Hendricks & Co Singers (4, 7): Aria Hendricks, Kevin Fitzgerald Burke; Jerry Dodgion: alto saxophone (6).

This Could Be The Start Of Something Big

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McCoy Tyner - Illumination!

Bitrate: MP3@320K/s
Time: 57:23
Size: 131.4 MB
Styles: Post bop, Piano jazz
Year: 2004
Art: Front

[6:10] 1. Illuminations
[8:46] 2. Angelina
[5:55] 3. New Orleans Stomp
[5:33] 4. Come Rain Or Come Shine
[5:21] 5. Soulstice
[4:49] 6. Blessings
[6:23] 7. If I Should Lose You
[3:12] 8. The Chase
[3:58] 9. West Philly Tone Poem
[7:12] 10. Alone Together

In his mid-'60s at the time of this pair of studio sessions, McCoy Tyner is hardly the prototype of a musician re-creating past hits, instead he signals that he still has a few surprises up his sleeve. One thing apparent right away in his opener, "Illuminations," is that he is willing to stay in the background a good deal of the time, focusing the spotlight on bandmembers Terence Blanchard, Gary Bartz, Christian McBride, and Lewis Nash. The leader's driving Latin-flavored "Angelina" features his intricate solo as its centerpiece, though his instrument still seems mixed into the background. Perhaps the greatest surprise among his own works is the playful strutting "New Orleans Stomp," in which his down-home piano will lift a few eyebrows, accompanied by Blanchard's almost vocal-like trumpet. "The Chase" is a
brief but rapid-fire workout with the rhythm section that will sound more familiar to longtime fans of Tyner. Bartz penned the strident post-bop vehicle "Soulstice," while Blanchard contributed the moody "Blessings," which blends a dark bass vamp with an uplifting Latin-flavored unison line by the two horns. McBride's "West Philly Tone Poem" features his warm arco bass in an inspired duet with the leader. The trio of standards heard here include "Alone Together" featuring Blanchard's sassy trumpet, while the relaxed but upbeat "If I Should Lose You" finds Bartz switching to soprano sax. This is yet another essential release by the always enjoyable McCoy Tyner. ~Ken Dryden

Illumination!

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Joanna Pascale - Through My Eyes

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 59:09
Size: 136,9 MB
Art: Front

(5:01)  1. Wouldn't It Be Loverly
(7:27)  2. The Night Has a Thousand Eyes
(6:14)  3. Easy To Love
(6:40)  4. Blue Gardenia
(5:43)  5. Our Day Will Come
(5:45)  6. I Hadn't Anyone Till You
(6:24)  7. P.S. I Love You
(5:01)  8. You Turned The Tables On Me
(4:56)  9. Something Wonderful
(5:52) 10. When I Grow Too Old To Dream

Philadelphia native Joanna Pascale ably represents her soulful hometown on Through My Eyes, demonstrating why she's a favorite of some of the city's finest musicians, including preeminent drummer Mickey Roker an expert on swing if there ever was one. Pascale has obviously done her homework, and spent some quality time in the woodshed. Sidestepping what could be another tired retread of the Great American Songbook by yet another generic vocalist, Pascale shows she's got the taste and skills to pull off a pleasantly relaxed set of standards. The vocalist purrs her way through "Wouldn't It Be Loverly" with languid, far-behind-the-beat phrasing, while pianist Andrew Adair serves up the blues flavor to match. Saxophonist Tim Warfield makes an excellent complimentary melodic foil to the bell-like clarity of Pascale's pitch, and the whole band's airy accompaniment expertly cushions the singer's sassy delivery. Elsewhere, she demonstrates rhythmic authority and playfulness on "Easy to Love," stretching syllables for dramatic and ear-catching effect. Ballads like "Blue Gardenia" are particularly pleasant, as Pascale invests the lyrics with real warmth and longing melancholy. Her casual, almost blasé delivery of "P.S. I Love You" is reminiscent of Shirley Horn's signature breathy floatation over a molasses-like tempo. And Pascale's ability to tell a story is evident on "Something Wonderful," where the clarity of the lyrics is put on center stage, with a dramatic intro spotlighting the duo of Pascale and bassist Madison Rast.

Some tunes, such as "The Night Has a Thousand Eyes," sound perfectly competent yet somewhat drowsy and anonymous beneath an over-polished gloss, requiring something more nakedly emotional. The impression is one of solid craftsmanship, but without the chance-taking (and therefore sometimes pleasingly ragged-sounding) risk and highly personal imprints that are at the heart of great jazz performances.

Nonetheless, the band sounds fresh and well-rehearsed as it stretches the tunes towards the 5-7-minute mark. Whether interpreting a variation on Ahmad Jamal's "Poinciana" beat ("Our Day Will Come"), churning out a Latin groove ("I Hadn't Anyone Till You"), or just digging deep and swinging hard in the pocket ("You Turned the Tables on Me," "When I Grow Too Old to Dream"), it's the group's subtle and seasoned interplay that gives Pascale the backing she needs to do her thing. Special mention also goes to the top-notch recording quality, which is clear, well-rounded and full-bodied. Pascale appears to be at the start of a journey that is well worth keeping an ear on. In the meantime, she's representing her native City of Brotherly Love with class, grace and swing. ~ Greg Camphire  http://www.allaboutjazz.com/through-my-eyes-joanna-pascale-stiletto-records-review-by-greg-camphire.php

Personnel: Joanna Pascale: vocals; Tim Warfield: saxophone; Andrew Adair: piano; Madison Rast: bass; Dan Monaghan: drums.

Through My Eyes

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Ruby Braff & Scott Hamilton - A First

Styles: Trumpet And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 42:18
Size: 97,1 MB
Art: Front

(6:03)  1. Romance in the Dark
(4:17)  2. When a Woman Loves a Man
(7:28)  3. Rockin' Chair
(4:33)  4. Dinah
(5:38)  5. All My Life
(4:53)  6. Shine
(4:36)  7. Medley: If You Were Mine/I Wished on the Moon
(4:48)  8. Bugle Blues

Although it is implied with its title that this was the first collaboration between cornetist Ruby Braff and tenor-saxophonist Scott Hamilton, they had recorded a date back in December 1983 for the Swedish Phontastic label. Accompanied by Hamilton's regular quartet of the period (pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs), Braff and Hamilton inspire each other and play some explosive and consistently passionate solos. Highlights include a surprisingly hard-swinging "Rockin' Chair," "Dinah," "All My Life" and "Bugle Blues." Recommended. ~ Scott Yanow  http://www.allmusic.com/album/a-first-mw0000198500

Personnel: Ruby Braff (trumpet), Scott Hamilton (tenor saxophone), John Bunch (piano), Chris Flory (guitar), Phil Flanigan (bass), Chuck Riggs (drums).

A First

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Matthieu Boré - Roots

Styles:  Vocal
Year: 2012
File: MP3@320K/s
Time: 37:04
Size: 85,3 MB
Art: Front

(3:35)  1. Bye Baby Bye-Bye
(2:39)  2. I Wanna Be Your Man
(3:30)  3. Thank You Girl
(3:46)  4. A Little Talk With Thee
(2:51)  5. Girls and Boys
(3:26)  6. Baby I Want You So Bad
(2:56)  7. Wake Me Up Before You Go-Go
(2:55)  8. Too Much in Love to See
(3:44)  9. Sign Your Name
(3:21) 10. Yeh Yeh
(4:15) 11. Don't Try to See Me Again

Jelly Roll Morton wrote, ''Any music can be played in jazz, since you know how to do it. No matter what you play but the way you play it.'' This famous quotation describes the music of French jazz vocalist Matthieu Bore and the direction of the repertoire of his new album, Roots, perfectly. The album includes a mix of original works and pop standards in a fascinating blend that is easy on the ear. Bore reworks an array of hits from the 80s (favorites of his youth) such as ''Wake Me Up Before You Go-Go'' (George Michael) and ''Girls & Boys'' (Prince), giving them a Rhythm 'n Blues and soul-jazz sound. ~ Editorial Reviews  http://www.amazon.com/Roots-Matthieu-Bore/dp/B00960AJ74

Roots

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Terence Blanchard - Breathless

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 78:04
Size: 178,8 MB
Art: Front

( 5:49)  1. Compared to What
( 8:52)  2. See Me As I Am
(14:33)  3. Everglades
( 4:38)  4. Breathless
( 8:13)  5. Confident Selflessness
( 4:12)  6. Shutting Down
( 6:08)  7. Soldiers
( 3:57)  8. Samadhi
( 4:04)  9. Talk to Me
( 2:48) 10. Tom & Jerry
( 4:28) 11. I Ain't Got Nothin' but Time
( 5:24) 12. Cosmic Warrior
( 4:53) 13. Midnight

Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce. In keeping with this boundary-pushing trajectory, Blanchard's follow-up, 2015's Breathless, finds the New Orleans native jumping wholeheartedly into a funky stew of R&B, hip-hop, and fusion-influenced jazz. Blanchard is joined here by his band the E-Collective, an adroit group of young players centered around gifted keyboardist Fabian Almazan, the only carry-over from the Magnetic sessions.

 Along with Almazan, the E-Collective features Charles Altura (guitar), Donald Ramsey (bass), and Oscar Seaton (drums). Also showcased throughout is vocalist PJ Morton, who has released his own R&B- and contemporary gospel-infused albums and toured as a keyboardist with the pop group Maroon 5. Ambitious, adventurous, and steeped in the kind of sticky, psychedelic jazz-funk pioneered by trumpeter Miles Davis in the '70s, Breathless is Blanchard's most electrified album to date. While Blanchard has long drawn comparisons to Davis, they've mostly referenced the iconic trumpeter's classic quintet sides from the late '60s and not his effects-drenched fusion period. Similarly, while on previous efforts Blanchard has flirted with an electronic sound, he's never gone this far in a contemporary jazz direction. Here we get a very '90s hip-hop/jazz-infused reworking of Les McCann's classic 1969 socio-political anthem "Compared to What," several languid, new agey spoken word pieces with Morton, and some expansive, groove-oriented cuts like the bluesy midtempo "See Me as I Am" that allow for plenty of spaced-out solos. 

Also intriguing are Morton's several slow jam vocal numbers, including an inspired cover of Hank Williams' "I Ain't Got Nothin' But Time,' which replaces the country legend's cowboy twang and fiddles with sweeping, Stevie Wonder-esque orchestral synth backgrounds. Also compelling is the languid, dreamy ballad "Everglades," which impossibly balances Debussy-influenced impressionism with angular, synthy, '80s electro-funk. Ultimately, while Breathless is a break from the aggressive, acoustic swing that has marked much of Blanchard's career, it nonetheless retains all the jaw-dropping artistry and soulful creativity we have come to expect, albeit delivered in a vibrant, electric style. ~ Matt Collar  http://www.allmusic.com/album/breathless-mw0002840598

Personnel: Terence Blanchard (trumpet); Charles Altura (guitar); Fabian Almazan (piano, synthesizer); Oscar Seaton (drums).

Breathless

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