Sunday, July 19, 2015

Ella Fitzgerald - Sings The Harold Arlen Songbook (2-Disc Set)

Recorded in 1960 and '61, this is one of the last and very best of Fitzgerald's songbooks spotlighting individual composers. Arlen's lyrical songs, filled with bluesy touches and abstractions from the blues form, are perfect jazz fodder (he wrote for Duke Ellington at the Cotton Club, circa 1930), and beautiful tunes in their own right. Fitzgerald is in peak voice; she's attentive to the nuances of soulful lyrics (Ira Gershwin's "The Man That Got Away"), and lightly teases some witty ones (like Johnny Mercer's "Ac-cent-tchu-ate the Positive"). Billy May's big-band arrangements are models of self-effacing fleetness--punchy without hysteria, smooth without syrup--and enlivened by alto saxophonist Benny Carter and trumpeter Don Fagerquist. But May also brings a delicate sensibility to introductory verses, interludes, and tender ballads. Strings on a few tracks are for variety, not window-dressing. Arlen's graceful American art songs have never had a better showcase--even if they could have skipped "Ding! Dong! The Witch Is Dead." ~Kevin Whitehead

Album: Sings The Harold Arlen Songbook (Disc 1)
Bitrate: MP3@320K/s
Time: 50:26
Size: 115.5 MB
Styles: Jazz vocals
Year: 1962/2001
Art: Front

[7:10] 1. Blues In The Night
[4:01] 2. Let's Fall In Love
[5:12] 3. Stormy Weather
[2:21] 4. Between The Devil And The Deep Blue Sea
[3:58] 5. My Shining Hour
[2:42] 6. Hooray For Love
[4:34] 7. This Time The Dream's On Me
[4:07] 8. That Old Black Magic
[4:49] 9. I've Got The World On A String
[3:58] 10. Let's Take A Walk Around The Block
[3:50] 11. Ill Wind
[3:37] 12. Ac-Cent-Tchu-Ate The Positive

Sings The Harold Arlen Songbook (Disc 1)

Album: Sings The Harold Arlen Songbook (Disc 2)
Bitrate: MP3@320K/s
Time: 61:50
Size: 141.6 MB
Styles: Jazz vocals
Year: 1962/2001
Art: Front

[5:06] 1. When The Sun Comes Out
[3:21] 2. Come Rain Or Come Shine
[3:45] 3. As Long As I Live
[3:27] 4. Happiness Is A Thing Called Joe
[3:33] 5. It's Only A Paper Moon
[5:18] 6. The Man That Got Away
[3:55] 7. One For My Baby (And One More For The Road)
[5:08] 8. It Was Written In The Stars
[3:29] 9. Get Happy
[5:09] 10. I Gotta Right To Sing The Blues
[2:41] 11. Out Of This World
[4:16] 12. Over The Rainbow
[3:15] 13. Ding-Dong! The Witch Is Dead
[2:45] 14. Sing My Heart
[4:03] 15. Let's Take A Walk Around The Block
[2:32] 16. Sing My Heart

Sings The Harold Arlen Songbook (Disc 2)

Mundell Lowe - Guitar Player (Remastered)

Bitrate: MP3@320K/s
Time: 32:53
Size: 75.3 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[5:45] 1. Scrapple From The Apple
[2:41] 2. Beach Time
[4:13] 3. Violets For Your Furs
[3:44] 4. Early Morning Soft Shoe
[6:50] 5. Satin Doll
[2:48] 6. Prelude To A Kiss
[6:49] 7. Angel Eyes

"Some years ago I recorded an album for RCA RECORDS. A nice little album...went nowhere in terms of sales though. I thought at the time, one of the problems was the recording (engineering), it was not very good. My friend Eric Van der Wyk has remastered that record...what a difference! This recording has never sounded as good! I wish Eric had been there when it was first recorded! Thank you Eric....GOOD JOB...." ~Mundell Lowe

Guitar Player (Remastered)

Andy Farber & His Swing Mavens - Bluesectomy

Bitrate: MP3@320K/s
Time: 58:44
Size: 134.5 MB
Styles: Big Band, Swing
Year: 2008
Art: Front

[3:23] 1. Bluesectomy
[3:58] 2. What You Gonna Do
[4:11] 3. Sometimes I'm Happy
[4:39] 4. Just A-Settin' And A-Noshin'
[4:13] 5. Struttin' With Some Farbecue
[5:07] 6. Till I Laid My Eyes On You
[3:23] 7. You Hit The Spot
[5:16] 8. One For Ernie
[4:04] 9. Primrose Path
[4:55] 10. On The Street Where You Live
[3:36] 11. Save Another Dance For Me
[4:02] 12. Walkin' After Midnight
[5:26] 13. The Blues Train
[2:23] 14. The Mean Reeds

Born in Huntington, Long Island, Andy Farber started playing clarinet at the age of 8, but by age 9 had settled on the saxophone. Influenced by his father's professional drumming and a great music collection, Mr. Farber grew up listening to Art Blakey, Miles Davis and Charlie Parker. At 10, he attended jazz workshops studying with Budd Johnson, Chris Woods, and Dave Burns. At 13 he studied classical oboe and jazz saxophone at the Usdan Center for the Arts on Long Island. When he was 17 years old, Farber auditioned for Branford Marsalis and was accepted into The Tri-state McDonalds' Jazz Ensemble. Joining the ensemble he went on to perform with Mr. Marsalis, Randy Brecker, and Steve Turre, to name a few. Mr. Farber continued his education at The Manhattan School of Music in NYC where he studied jazz composition with David Berger and Mike Abene. During this time, he played in David Berger's Big Band and simultaneously formed and led his own quintet called The Hard Bop Repertory Company. He grew this into a 15-piece ensemble, Andy Farber & his Orchestra, which performed original compositions regularly at the West End Gate in NYC for the next year and a half.

In late 1993 Andy met jazz vocalese artist Jon Hendricks. Collaborating on Jon's CD "Boppin\' at the Blue Note," Mr. Farber wrote arrangements which featured Jon and guests Al Grey, Wynton Marsalis, Benny Golson, Red Holloway, and Clark Terry. For the next three years Andy was part of The Jon Hendricks Explosion, acting as Musical Director, saxophonist, and arranger. In addition to gigs too numerous to name, The Explosion performed several weeks at The Blue Note in NYC, and toured Europe and the US playing jazz festivals & nightclubs.

Following Mr. Farber's tenure with Jon. Hendricks, he joined Wynton Marsalis and the Lincoln Center Jazz Orchestra on tenor saxophone. Since 1997, he has been freelancing as a saxophonist, arranger, and conductor for people like Wynton Marsalis, Jon Hendricks, Shirley Horn, Bobby Short, Ann Hampton Calloway, Frankie Laine, Alan Harris, Cynthia Scott, Billy Stritch, Stevie Wonder, B.B. King, Bob Dylan, Vanessa Williams, and Roseanna Vitro to name a few. Farber's arrangements have been performed by The Boston Pops Orchestra, the Philly Pops Orchestra, the Boca Pops Orchestra and several symphony orchestras throughout Europe. Farber has been a guest conductor of the Lincoln Center Jazz Orchestra and in 2004 made his symphonic conducting debut with the Bronx Arts Ensemble. His work as an arranger, conductor and instrumentalist can be heard on numerous recordings. In 1998, Mr. Farber released his debut CD entitled "Double A" with partner Andrew Williams, on After 9 Records. Mr. Farber is in constant demand as a multi-facetted reedman and a sampling of the groups or artists he has performed with are: The Duke Ellington Orchestra, The Count Basie Orchestra, The Artie Shaw Band, The Harry James Band, Illinois Jacquet Big Band, Vince Giordano's Nighthawks, Bob Dorough, Marcus Roberts, Bobby Short, The Onyx Club Sextet, etc. Currently Mr. Farber leads his own band fronted by jazz vocalist Jerry Costanzo, Andy Farber & his Swing Mavens, a 9-piece ensemble that performs Mr. Farber\'s arrangements and original compositions. As well as Jazz, Swing & American Popular Standards. The band can be heard on Farber's latest release, "Bluesectomy" (NJR Records) and at jazz clubs and performing arts centers in and around the New York and the East Coast. When not playing jazz, Mr. Farber composes and produces music for television and film at Duotone Audio Group in NYC.

Bluesectomy

Archie Semple - The Clarinet Of Archie Semple

Styles: Clarinet Jazz
Year: 2010
File: MP3@320K/s
Time: 68:18
Size: 157,8 MB
Art: Front

(3:03)  1. Good Goody
(3:13)  2. After Last Night With You
(2:54)  3. I Can't Believe That You're In Love With Me
(2:19)  4. I Want To Be Happy
(3:09)  5. 77 Blues
(3:37)  6. Solitude
(3:19)  7. Home
(2:37)  8. Please Don't Talk About Me When I'm Gone
(4:37)  9. Ammonia Blues
(3:09) 10. No Regrets
(2:32) 11. Sweet & Lovely
(4:06) 12. Wrap Your Troubles In Dreams
(3:06) 13. Ole Miss
(3:18) 14. Sugar Babe
(3:26) 15. Bei Mir Bist Du Shoen
(4:15) 16. I Cover The Waterfront
(2:25) 17. The Needle
(3:41) 18. I'm In The Market For You
(2:45) 19. Please Don't Talk About Me When I'm Gone
(2:47) 20. Home
(3:51) 21. Ammonia Blues

Cult British Jazz musician featured on a set of rare recordings. Archie Semple had all the ingredients to become a cult figure of British Jazz: a highly inventive and distinctive player, played in some legendary bands, was plagued by ill health, retired from playing aged 36 and died nine years later. He emerged onto the Edinburgh Jazz scene in the late 1940s and, like a number of his contemporaries, notably Sandy Brown, Alex Welsh and Al Fairweather, he travelled south to join the burgeoning London Jazz scene. He joined the now legendary bands of Mick Mulligan and Freddie Randall before joining the band formed by Alex Welsh in 1955. He would remain with Welsh until 1963 and stop playing a year later .The influences of Jazz legends Edmond Hall and Pee Wee Russell can be detected in his playing, but he developed his own unique style which made him instantly recognisable. He made few recordings under his own name and this set comes mainly from the archives of  the 77 Records label and includes some previously unissued material. One of the UK's best Jazz pianists, Fred Hunt is on most of the tracks and a few feature, trumpeter, Dickie Hawdon, who would go on to be Head Of Light Music at the City of Leeds College Of Music, and who is another Jazz musician seriously underrepresented on disc. These recordings never enjoyed wide circulation which, again, helped Archie Semple's cult status. http://www.amazon.co.uk/The-Clarinet-Of-Archie-Semple/dp/B0046BTZWS

Personnel:  Archie Semple – Clarinet;  Fred Hunt – Piano;  Dickie Hawdon – Trumpet.

The Clarinet Of Archie Semple

Holly Shelton, David Shelander - Perdido Beach

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 34:57
Size: 82,1 MB
Art: Front

(2:02)  1. Perdido Beach
(3:34)  2. Stars Fell on Ala
(3:59)  3. Skylark
(3:06)  4. Walkin' After Midnight
(3:42)  5. Crazy
(4:00)  6. Piano Man
(3:10)  7. No More Chasing Rainbows
(3:01)  8. Gold Tooth Blues
(2:51)  9. Tennessee Waltz
(3:57) 10. Wind Beneath My Wings
(1:30) 11. Perdido Beach (Reprise)

“Memphis vocalist Holly Shelton who divides her time between here and west Florida has a national pedigree in cabaret singing, acting and dancing. There’s nothing like coming home, however, and on the tasty platter “Back to Beale Street,” she touches on her jazzier side of the Mid-South’s (and her) musical roots. A smooth and expressive singer Shelton can pull off most any style, from the standard How High the Moon to Joni Mitchell’s great Furry Sings the Blues. And that allows plenty of range for a “jazz” record, where Shelton offers a jumping Hit That Jive, Jack! on one end of the spectrum and a chiffon-like bossa nova by Antonia Carlos Jobim on the other. The best track is also the most unexpected, a sophisticated reading of Mable John’s Stax classic Your Good Thing Is About to End that keeps the moody emotion of the original front and center. Ending the record with W.C Handly’s The Memphis Blues is a foregone (and appropriate) conclusion.

It helps that Shelton has accompaniment from such Bluff City pros as keyboardist Rene Koopman, bassist Tim Goodwin and drummer Donnie Patterson (dubbed the Backroom Boys here), plus cameos by saxophonist Jim Spake and Tom Clary on trumpet (the latter’s quotation of Beale Street Blues in Furry Sings the Blues is a keeper).”  Bill Ellis, The Commercial Appeal, Memphis, Tennessee

“Allow yourself abundant time to be enchanted in Holly’s magical web. (She) is a take-no-prisoners, all knowing interpreter of the standard song. Take it from me, Holly Shelton is a stupendously talented and tasteful vocalist that you never forget.”  Dan Singer, IN TUNE INTERNATIONAL Magazine

“Holly’s something over six feet tall, and there isn’t a stage built that will contain her.”  Bill Campbell, The Northwest Florida Daily News

“I think you’re a terrific singer, and your version of ‘(Peel Me A) Grape,’ is the best I’ve heard in a long time. Blossom would appreciate the way you handled her stuff, too.”  Best wishes, Dave Frishberg

“Shelton has earned the label of ‘Jazz Singer,’ but could just as easily be called a pop singer, a bluesy torch singer, a cabaret singer, even a country singer, as her many fans will attest, she sings well in all these styles.” Thom Botsford, Jazz Eclectic, The Real Paper, Pensacola, Florida.

“Best Vocalist on the Gulf Coast.”  Readers Poll, Pensacola News Journal, Gannett News Organization  http://www.hollyshelton.com/reviews.html

Perdido Beach

Ahmad Jamal - The Legendary Okeh & Epic Recordings

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 75:52
Size: 174,2 MB
Art: Front

(2:49)  1. The Surrey With The Fringe On Top
(2:42)  2. Will You Still Be Mine?
(2:54)  3. Ahmad's Blues
(2:34)  4. A Gal In Calico
(3:06)  5. Aki and Ukthay
(2:39)  6. Billy Boy
(3:25)  7. Black Beauty
(8:30)  8. Love For Sale
(2:46)  9. Something To Remember You By
(4:34) 10. Poinciana
(3:20) 11. Don't Blame Me
(2:38) 12. Autumn Leaves
(2:57) 13. They Can't Take That Away From Me
(3:43) 14. Old Devil Moon
(2:54) 15. It's Easy to Remember
(3:50) 16. Squeeze Me
(4:55) 17. Crazy He Calls Me
(4:24) 18. Pavanne
(3:55) 19. Perfidia
(3:49) 20. Rica Pulpa
(3:18) 21. The Donkey Serenade

This collection brings together the early OKeh and Epic recordings of innovative jazz pianist Ahmad Jamal, recorded between 1951 and 1955. Jamal ushered in a new era of melodic improvisation that stood in sharp contrast to bebop's previous innovations. These recordings were all done in trio settings, where the pianist was accompanied by guitarist Ray Crawford, and either Eddie Calhoun (1951 and 1952) or Israel Crosby on bass. The shimmering solos and light as a feather chord voicings are anything but lightweight. Sharp, harmonic invention, economical yet intuitive phrasing, and a deft sense of time pushed Jamal's star to ascendancy. Standout cuts here are his "Surrey with the Fringe on Top," which extrapolates the melody into new harmonic terrain; the beautiful arrangement of the traditional "Billy Boy"; Fats Waller's "Squeeze Me" with its beautiful ostinato, and Jamal's glorious read of "Perfidia." The sound on this set is gloriously remastered. There are period liner notes by Nat Hentoff, and a moving and appreciative essay by Randy Weston. ~ Thom Jurek  http://www.allmusic.com/album/the-legendary-okeh-and-epic-recordings-mw0000304473

Personnel: Ahmad Jamal (piano); Ahmad Jamal; Eddie Calhoun, Israel Crosby (acoustic bass); Ray Crawford (guitar).

The Legendary Okeh & Epic Recordings

Johannes Wallmann - Town Musicians

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 74:58
Size: 172,8 MB
Art: Front

( 7:46) 1. Water Music (For People without Aquariums)
( 6:10)  2. Wookie's Groove
( 1:04)  3. Interlude #1
(11:19)  4. November Song
( 5:40)  5. Paper Balls
( 8:56)  6. Lakeshore
( 6:32)  7. I COuld Have Danced All Night
( 1:12)  8. Interlude #2
( 7:06)  9. A House For Men And Birds
( 8:53) 10. Town Musicians
( 2:50) 11. Interlude #3
( 7:24) 12. Concurrencies

The music of pianist Johannes Wallmann, born in Germany but raised in Vancouver, has been shaped by the sounds of the various places he called "houses". Brooklyn is one of them. The rhythmic pulse of New York and Oakland meets the jagged coasts of the northwest Pacific coast and the vast expanses of the Midwest. He published "The Town Musicians" at Fresh New Talent Sount (dist. Socadisc).

Steeped in the tradition of jazz and fed to the music of Ellington and Coltrane, features compositions Wallmann looking to explore new territories, joining the harmonic complexity with an infectious groove, melodic introspection with a playful exuberance. Translate by google  http://www.francemusique.fr/jazz/jazz-bonus-johannes-wallmann-town-musicians-95535

Personnel:  Johannes Wallmann – Piano; Gilad Hekselman – Guitar;  Russ Johnson – Trumpet;  Sean Conly -  Bass;  Jeff Hirshfield – Drums; (tenor sax on #1 & 4).


Molly Ryan - Let's Fly Away

Styles: Jazz, Vocal, Swing
Year: 2015
File: MP3@320K/s
Time: 57:55
Size: 133,7 MB
Art: Front

(4:01)  1. Wanderer
(3:09)  2. Beyond The Blue Horizon
(3:27)  3. Song Of The Wanderer
(4:41)  4. Far Away Places
(3:08)  5. Let's Fly Away
(2:42)  6. Flying Down To Rio
(4:06)  7. A Rainy Night In Rio
(4:31)  8. South Sea Island Magic
(4:04)  9. The Gypsy In My Soul
(3:40) 10. The Road To Morocco
(5:42) 11. Sous Le Ciel De Paris (Under Paris Skies)
(4:54) 12. Trav'lin' All Alone
(4:09) 13. It's Nice To Go Trav'ling
(5:32) 14. Anywhere I Wander

Originally from Roseville, CA, Molly made her jazz vocal debut at the age of 11 with the Reynolds Brothers’ Rhythm Rascals at the Sacramento Jazz Jubilee. Since moving to New York City in August of 2003, she has become one of the most sought-after vocalists on the New York jazz scene. She has performed alongside such prominent jazz artists as Randy Reinhart, Jon-Erik Kellso, Bria Skonberg, Dan Barrett, Mark Shane, Rossano Sportiello, as well as with the preeminent 1920s-style orchestra, Vince Giordano’s Nighthawks. She is a member of Gordon Au’s Grand Street Stompers, and appears on the band’s Christmas album, released in November 2012. Molly also performs periodically with the gypsy jazz group Fête Manouche and with James Langton’s New York All-Star Big Band, both of which spotlight her as rhythm guitarist as well as vocalist.

Molly has appeared at numerous jazz festivals throughout the country including the Hot Steamed Jazz Festival in Essex, CT, the Great Connecticut Traditional Jazz Festival, the Orange County Classic Jazz Festival in Southern California, the Sweet and Hot Music Festival in Los Angeles, and the Sacramento Jazz Jubilee, at which she has appeared both with her own group and with a band led by her friend and mentor, pianist Bob Ringwald. She has headlined in Paris at jazz clubs such as the famed Le Petit Journal and Autour de Midi, and has been featured as a guest vocalist with Andrej Hermlin’s Swing Dance Orchestra throughout Germany in a monumental tribute to clarinet legend Benny Goodman.

In 2004, Molly took part in a spectacular re-creation of Goodman’s Carnegie Hall Jazz Concert, as well as at the JVC Jazz Festival’s centennial tribute to Jimmy Dorsey at New York City’s famed jazz club Birdland. She headlined at Birdland every week last August for the club’s Sunday evening showcase, “Jazz Party.”

Molly’s debut album, Dream a Little Dream, featuring Bob Ringwald, was released in 2002. Her second solo album, Songbird in the Moonlight, featuring Dan Levinson, Mark Shane, Kevin Dorn, and Jon Erik Kellso, came out in 2008. Molly can also be heard on the albums Steppin’ Around with Dan Levinson’s Canary Cottage Dance Orchestra (Stomp Off Records, 2006), At the Codfish Ball with Dan Levinson’s Swing Wing (Loup-garous Productions, 2009), and Four on the Floor with the Palomar Quartet (Loup-garous Productions, 2008). Her album, Swing For Your Supper, came out in 2013 and features Bucky Pizzarelli, Randy Reinhart, Dan Levinson, Vince Giordano, Kevin Dorn, Dan Barrett, Mark Shane, as well as guest vocalists Banu Gibson and Maude Maggart. Molly can be heard on the Grammy Award-winning HBO television series Boardwalk Empire.

“A critic’s favorite,” proclaims The Wall Street Journal columnist Will Friedwald, in reference to Molly Ryan, one of the most sought-after vocalists on the New York jazz scene. She has performed at such prestigious venues as Café Carlyle, The Waldorf Astoria, Rainbow Room, and world-famous jazz clubs Birdland and Iridium. Her latest album, “Let’s Fly Away,” featuring piano legend Dick Hyman, was released earlier this year.  http://jeffandjoelshouseparty.com/musicians/molly-ryan/
 
Thank You my dear Friend!
Let's Fly Away

Saturday, July 18, 2015

Red Richards - Echoes Of Spring

Bitrate: MP3@320K/s
Time: 65:48
Size: 150.6 MB
Styles: Piano jazz
Year: 1998
Art: Front

[9:39] 1. There Will Never Be Another You
[6:11] 2. I Can't Give You Anything But Love
[4:52] 3. Them There Eyes
[6:28] 4. S'wonderful
[7:55] 5. Isn't It Romantic
[7:25] 6. Daydream
[4:59] 7. I'm In The Market For You
[4:43] 8. Echoes Of Spring
[6:48] 9. It Don't Mean A Thing If It Ain't Got That Swing
[6:43] 10. Things Ain't What They Used To Be

Red Richards (vocals, piano); Claude "Fiddler" Williams (vocals, violin); Norris Turney (alto saxophone); Joe Ascione (drums). Recorded live at Nick Vollebregts Jazzcafe, Laren, Holland in 1997.

Richards began playing classical piano at age ten, and concentrated on jazz from age 16 after hearing Fats Waller. His first major professional gig was with Tab Smith at New York's Savoy Ballroom from 1945 to 1949. following this he played with Bob Wilber (1950–51) and Sidney Bechet (1951). He toured Italy and France in 1953 with Mezz Mezzrow's band alongside Buck Clayton and Big Chief Moore, also accompanying Frank Sinatra during his time in Italy. He played with Muggsy Spanier on and off from 1953 through the end of the decade, and with Fletcher Henderson in 1957-58. In 1958 he did some time as a solo performer in Columbus, Ohio, then played with Wild Bill Davison in 1958-59 and again in 1962.

In 1960 he formed Saints & Sinners with Vic Dickenson, playing with this ensemble until 1970. He joined Jazz drummer Chuck Slate and his band in 1971 and stayed with him most of the year. He recorded an album with Chuck called "Bix 'N All That Jazz" Following this he did work with Eddie Condon (1975–77), then played with his own trio in 1977-78. He played with Panama Francis's group, the Savoy Sultans, worldwide from 1979 through the 1980s. He recorded with Bill Coleman in 1980. He continued to tour almost up until the time of his death.

Echoes Of Spring

Tom Ball - Solo Guitar: Music From Films

Bitrate: MP3@320K/s
Time: 45:08
Size: 103.4 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[2:28] 1. Manha De Carnaval
[3:01] 2. The Water Is Wide
[2:50] 3. Secret Love
[2:11] 4. The Way You Look Tonight
[3:43] 5. To Kill A Mockingbird
[3:23] 6. The Long Riders
[3:20] 7. Yesterday
[2:43] 8. Wild Mountain Thyme
[2:37] 9. Funeral March Of A Marionette
[2:59] 10. Pelagia's Song
[2:18] 11. Blue Bell
[3:26] 12. The Maestro And Margarita
[2:46] 13. Jump In The Line
[3:38] 14. Once Upon A Time In The West
[3:38] 15. Over The Rainbow

On this CD Ball tackles some of the most memorable film music ever composed. Alongside new arrangements of such beloved pieces as Over the Rainbow, Manhá de Carnaval and Yesterday, the guitarist has also chosen several lesser known obscurities such as the sublime Wild Mountain Thyme and the hauntingly radiant themes to Once Upon a Time in the West and To Kill a Mockingbird.

In addition to the varied material, another standout aspect of this recording is the use of a vintage steel stringed instrument in this case a 1936 Gibson. While other players have recorded some of these pieces on the classical (nylon string) guitar, very few of these selections have ever been rendered on steel strings. The result is an ultra-warm resonance, with an unusual clarity of attack and an often shimmering presence.

Expertly played and recorded with tube microphones over the span of a year, Solo Guitar ~ Music From Films transports the listener to a musical world where Catalan composers can live next door to Celtic harpers; where contemporary Hollywood film scorers shake hands with Bahamian street musicians; and where Tin Pan Alley can peacefully exist within the favelas of Rio. Once again, in Tom Ball’s capable hands it’s all simply guitar music and fine guitar music indeed.

Solo Guitar Music From Films

Melinda Whitaker - Lucky So-And-So!

Bitrate: MP3@320K/s
Time: 43:26
Size: 99.4 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[3:21] 1. The Song Is You
[6:18] 2. My Foolish Heart
[5:26] 3. I'm A Lucky So And So
[4:35] 4. Overjoyed
[4:14] 5. A Felicidade
[6:00] 6. Guess I'll Hang My Tears Out To Dry
[4:45] 7. Creepin'
[3:00] 8. Just Friends
[5:43] 9. You've Changed

With Juno-winning saxophonist Phil Dwyer in the producer's chair, Melinda Whitaker is in good hands here. Along with such other ace players as Brad Turner and Ian MacDougall, he helps frame Whitaker's adventurous yet assured vocal performances. Great American Songbook selections dominate, but covers of Stevie Wonder ("Overjoyed") and Jobim ( album highlight "Happiness") help add variety. Whitaker has worked as a session vocalist in a wide range of genres, but jazz is her real love. That shows here. ~Kerry Doole

Lucky So-And-So!

Blue Mitchell - Graffiti Blues

Bitrate: MP3@320K/s
Time: 50:15
Size: 115.0 MB
Styles: Hard bop, Trumpet jazz
Year: 1974/1991
Art: Front

[7:15] 1. Graffiti Blues
[5:28] 2. Yeah Ya Right
[5:05] 3. Express
[7:23] 4. Asso-Kam
[8:58] 5. Dorado
[3:22] 6. Alone Again (Naturally)
[3:30] 7. Where It's At
[4:33] 8. Funky Walk
[4:38] 9. Blue Funk

The fourth of five Mainstream sets led by Blue Mitchell (which has been reissued on CD) finds the flexible hard bop trumpeter joined by a soulful and funky rhythm section (either Joe Sample or Walter Bishop Jr. on keyboards, guitarist Freddie Robinson, electric bassist Darrell Clayborn and drummer Ray Pounds) and tenor saxophonist Herman Riley. The group plays three straight funky blues, including the title cut which features Don Bailey on harmonica, as well as a couple of basic Sample originals and a Mitchell ballad feature on "Alone Again, Naturally." Although not up to the same level as Blue Mitchell's earlier Blue Note dates, this accessible set does a good job of balancing worthwhile solos with catchy rhythms and has dated surprisingly well. ~Scott Yanow

Graffiti Blues

Mary Foster Conklin - You'd Be Paradise

Styles: Jazz, Vocal
Year: 2001
File: MP3@320K/s
Time: 49:32
Size: 113,7 MB
Art: Front

(4:19)  1. Devil May Care
(4:00)  2. My Heart Belongs To Daddy
(3:22)  3. Don't Get Scared
(4:08)  4. But For Now
(6:06)  5. Baby, You Should Know It
(4:34)  6. Broken Bicycles
(5:38)  7. Everything Happens To Me
(4:42)  8. You'd Be So Nice To Come Home To
(4:22)  9. The Windmills Of Your Mind/Theme From "The Thomas Crowne Affair"
(4:05) 10. Nirvana
(4:10) 11. Right On My Way Home

Hip singer, splendid album. To elaborate  New York–based songstress Mary Foster Conklin, who obviously loves what she does, goes around the block and back to avoid the obvious on You’d Be Paradise, complementing no less than four sophisticated tunes by the inimitable Bob Dorough with one each by David Cantor (“Nirvana”), Tom Waits (“Broken Bicycles”) and Michel Legrand (“The Windmills of Your Mind”), King Pleasure’s wry commentary on Stan Getz’s opus “Don’t Get Scared,” a brace of venerable Cole Porter standards (“My Heart Belongs to Daddy,” “You’d Be So Nice to Come Home To”) and Matt Dennis / Thomas Adair’s plaintive lament, “Everything Happens to Me” (set to a pleasant Latin beat, but one that fails to capture the essence of Dennis’ heart rending version). 

Conklin has a clear and charming mid–range voice, knows how to sell a lyric, and is reinforced by the presence of a world class rhythm section that knows when to press and when to ease up. She has chosen some lovely melodies, none of which has been restated enough to grow stale, even Porter’s classics from the first half of the twentieth century. Dorough’s insouciant “Devil May Care” is a tantalizing curtain raiser, and his lovely ballad “But for Now” is no less agreeable, nor are Waits’ perceptive “Broken Bicycles,” Cantor’s touching “Nirvana” or the better–known “Windmills of Your Mind,” which Conklin says she heard Legrand sing in French on a July 4 evening in the Big Apple. Conklin wraps the package neatly with Dorough / Lynn Gibson’s witty “Right on My Way Home,” ably abetted, as she is on every number, by the impressively compatible foursome of Mays, Vignola, Burr and Ascione who commit themselves uncompromisingly to the task at hand. Playing time is less than fifty minutes, but Conklin and her companions make each of them shine. Hip singer, splendid album. ~ Jack Bowers  http://www.allaboutjazz.com/youd-be-paradise-mary-foster-conklin-mock-turtle-music-review-by-jack-bowers.php 

Personnel: Mary Foster Conklin, vocals; Bill Mays, piano; Frank Vignola, guitar; Jon Burr, bass; Joe Ascione, drums.

You'd Be Paradise

Scott Hamilton - East of the Sun

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 63:12
Size: 145,2 MB
Art: Front

(5:21)  1. Autumn Leaves
(4:03)  2. Stardust
(6:08)  3. It Could Happen to You
(5:36)  4. It Never Entered My Mind
(5:44)  5. Bernie's Tune
(5:38)  6. East of the Sun (And West of the Moon)
(4:32)  7. Time After Time
(6:12)  8. Setagaya Serenade
(4:59)  9. That's All
(8:50) 10. All the Things You Are
(6:04) 11. (Back Home Again In) Indiana

For this Concord CD, tenor saxophonist Scott Hamilton gave the readers of Japan's Swing Journal the opportunity to vote on which songs they would like him to record. With the exception of his original "Setagaya Serenade" (a stomping blues that Hamilton took the liberty of performing) and "Autumn Leaves," he had recorded all of these veteran songs previously, but Hamilton's melodic improvisations do not copy the earlier versions. With the assistance of an English rhythm section (pianist Brian Lemon, bassist Dave Green, and drummer Allan Ganley), Hamilton is in typically swinging form on this fine set of standards and ballads. ~ Scott Yanow  http://www.allmusic.com/album/east-of-the-sun-mw0000622252

Personnel: Scott Hamilton (tenor saxophone); Brian Lemon (piano); Dave Green (bass); Allan Ganley (drums).

East of the Sun

Shirley Horn - You Won't Forget Me

Styles: Vocal And Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 71:12
Size: 164,4 MB
Art: Front

(6:31)  1. The Music That Makes Me Dance
(2:52)  2. Come Dance With Me
(6:03)  3. Don't Let The Sun Catch You Cryin'
(3:39)  4. Beautiful Love
(3:47)  5. Come Back To Me
(6:04)  6. Too Late Now
(2:26)  7. I Just Found Out About Love
(6:54)  8. It Had To Be You
(3:33)  9. Soothe Me
(2:50) 10. Foolin' Myself
(9:02) 11. If You Go
(3:47) 12. You Stepped Out Of A Dream
(7:13) 13. You Won't Forget Me
(6:25) 14. All My Tomorrows

With 1991's You Won't Forget Me, Shirley Horn's star continued to rise. While mostly ballads, this recording also includes swinging takes on "I Just Found Out About Love" and "Foolin' Myself." Toots Thielemans stars with his distinctive harmonica sound on "Beautiful Love" and "Soothe Me," and the unmistakable trumpet of Miles Davis weaves around Horn's vocal on the title track. The opening medley moves from the almost-whispered ballad "The Music That Makes Me Dance," to a funkily midtempo "Come Dance with Me." "Don't Let the Sun Catch You Crying" is absolutely gorgeous, with Wynton Marsalis stepping in to trade phrases with Horn's voice. 

The music here is mostly taken at a very leisurely tempo, and the spare arrangements allow plenty of room for the music to breathe, proving that less is often more. The only complaint is that such spaciousness generates is a certain sameness to the material, but this is leavened by the guest appearances of Thielemans, Davis, the brothers Marsalis, and tenorman Buck Hill. ~ Jim Newsom  http://www.allmusic.com/album/you-wont-forget-me-mw0000267263

You Won't Forget Me

Stryker-Slagle Band - Latest Outlook

Styles: Guitar And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:08
Size: 140,3 MB
Art: Front

( 5:00)  1. Knew Hold
( 7:06)  2. Latest Outlook
( 8:12)  3. Bird Flew
( 7:52)  4. Hartland
(11:42)  5. Dear Mr. Hicks
( 6:40)  6. Self-Portrait in Three Colors
( 8:36)  7. Turning Point
( 6:00)  8. In Just Time

After last year's Live at The Jazz Standard, the Slagle/Stryker band reconvened in the studio to record a batch of new compositions. The general sound of Latest Outlook is completely different from the previous recording the leaders are the only two musicians to appear this time around, and the quartet is enhanced by the presence of Joe Lovano's tenor saxophone on two tracks. The first impression you get is that they seem to swing harder in the confines of a studio without the time constraints of a "set," the group seems to play more freely and the improvisations sound a bit more spontaneous. Just check out Billy Hart's drum solo on "Latest Outlook and the dueling leads of the two saxophones on "Bird Flew, a Stryker original dedicated to Charlie Parker.

One track that immediately stands out is "Hartland, on which Stryker plays with a steel-string acoustic (though he overdubs an electric solo), providing a background to create more improvised moments; listen how bassist Jay Anderson takes advantage of this by playing subtler notes on his instrument and also engaging in a beautiful duet with Slagle during the main melody. Lovano joins the quartet once again for "Dear Mr. Hicks, a Slagle original written in tribute to pianist John Hicks, who had recently passed at the time of the recording. As the liners state, Slagle played with him in the Mingus Big Band and the Joe Lovano Nonet, and the tune is intended "to represent his musical personality starting with an elegy that leads into some hard swing. He reaches that goal, and hearing the two saxophonists exchange jabs, backed by Anderson's steady walking bass, is a pleasure. The highlight of this album is Charles Mingus' "Self-Portrait in Three Colors, the only cover on the disc. The tune's simple changes give the musicians a chance to explore their chops. Stryker is in his element, playing a song he knows well and doing it in his own way. ~ Ernest Barteldes  http://www.allaboutjazz.com/latest-outlook-stryker-slagle-band-zoho-music-review-by-ernest-barteldes.php

Personnel: Dave Stryker: guitar; Steve Slagle: alto and soprano saxophone; Jay Anderson: bass; Billy Hart: drums; Joe Lovano: tenor saxophone (3,5).

Latest Outlook

Oli Silk - So Many Ways

Styles: Smooth Jazz
Year: 2006
File: MP3@320K/s
Time: 50:28
Size: 117,0 MB
Art: Front

(3:38)  1. Eve's Song
(4:12)  2. So Many Ways
(4:51)  3. London to L.A. Express
(4:24)  4. Deuces Wild
(3:44)  5. San Carlos Approach
(3:44)  6. Easy Does It
(4:21)  7. Hats Off
(5:44)  8. Summer Fling
(5:37)  9. Lazy Sunday Groove
(4:50) 10. Pen to Paper
(5:17) 11. Rushmoor Café

This twenty-something British composer/keyboardist who made his initial splash in the U.K. in the early 2000s as part of the duo Sugar & Silk, may have been a new face on the U.S. smooth jazz scene in 2006, but Oli Silk's solo debut perfectly summarizes what the genre is all about. He starts with a sweet blend of laid-back atmospheres and a beautiful acoustic piano melody on "Eve's Song," then goes slightly funkier and urban on "So Many Ways" (featuring the soaring chorus vocals of Yvonne John-Lewis). Like something out of the Jeff Lorber school of soulful keyboarding, the Fender Rhodes-driven "London to L.A. Express" captures the popular old school vibe the genre is often known for. And just when he's getting a bit too laid back, he grooves it up with guest saxman Jaared for the disc's most lively cut "Deuces." Sadly, that track was too adventurous for the "don't want to offend anyone" vibe of the modern format, so the lush but less remarkable "Easy Does It" was chosen as the debut single. 

Jaared makes a repeat visit on "Summer Fling," yet another song which fulfills a genre requisite, having a R&B-flavored vocal (by Bruce Parker) on the album. Ironically, while there are truly no innovations to be found and Silk seems the whole time to simply try to keep the smooth customer satisfied with stuff that goes down easy, So Many Ways is also one of the most likeable genre discs of the year and holds up after repeated listens. It'll surely give ammo to those who hate the genre, and probably won't overly excite fans of more entrenched keyboard artists (like Lorber or Silk's labelmate Gregg Karukas). But it's still a gem in its own way and, in what almost seems revolutionary in the modern smooth jazz climate it doesn't have a cover tune! ~ Jonathan Widran  http://www.allmusic.com/album/so-many-ways-mw0000735545

Personnel: Oli Silk (vocals, keyboards, programming); Yvonne John Lewis, Bruce Parker (vocals); Matt Park (guitar); Julian Crampton (bass guitar); Damon Sawyer (drums).

So Many Ways

Friday, July 17, 2015

Amanda King - Chanteuse

Size: 108,6 MB
Time: 46:48
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz Vocals
Art: Front

01. Slap That Bass (3:24)
02. Bei Mir Bist Du Schoen (4:18)
03. Black Moonlight (6:39)
04. I'm One Of God's Children (3:55)
05. Makin' Whoopee (5:11)
06. Night And Day (2:55)
07. Love For Sale (4:41)
08. Lazy Afternoon (5:40)
09. Got A Lot Of Livin' To Do (3:38)
10. What Is This Thing Called Love/One Note Samba (6:23)

Based on her brilliant January 2008 Empire Plush Room show, Chanteuse features songs of the 1930s and 40s that seem to have been written with Amanda\'s voice in mind. With a smoothness of voice and surety of style, it’s hard to believe Amanda King has only been singing professionally since fall 2007. She comes from a solid theater background, but her historied ties to classical, Broadway and jazz music are in good evidence on this, her first CD. Able to meld all of these genres together with the exceptional genius of her musical trio - Shota Osabe on piano, Jeff Neighbor on bass, Micha Nur Patri on drums - Chanteuse is an album that swings brilliantly from beginning to end.

Working with her trio and producer, this CD came into being over several sessions at the famous Fantasy Studios in Berkeley CA. Her trio played masterfully, especially Shota who performed his magic on Bill Evans’ personal Yamaha C9, an deeply sonorous instrument. Voice, piano, bass and drums all perform as one, so evident as you experience their magic. Listeners have singled out a few of the tunes as being particlarly masterful, especially the classic Cole Porter tune \"Love for Sale\". \"Slap That Bass\" is the Ella tune that starts the CD and it is serious swing from start to finish. \"Lazy Afternoon\" takes the listener to a seductive place of quiet and warmth and wll prove to be a \"must play\" for anyone in love. And \"Black Moonlight\" is simply fabulous. Most of the tunes are unknown to even the best jazz connoisseur of the times, so listening is a special treat for those who love this era\'s music.

Her march toward becoming the hottest new singer on the block in San Francisco began with the 2003 Bay Area Cabaret Competition. She entered the contest on a lark, but her talent took her to the finals losing only by two votes! Encouraged by this good start, she began singing in various showcases throughout San Francisco. She developed a devoted following that quickly grew with her acclaimed one-woman show \"It\'s About Damn Time!\" which ran in the fall of 2007 at the New Conservatory Theatre in San Francisco.

“This singer was a suberb (sic) performer. I expected a louder, brassier voice, and I was pleasantly surprised to be wrong. Her choice of material was delightful, and her delivery was pitch-perfect. I was SO glad I had taken a chance on this unknown (to me) singer.”

Chanteuse

John Basile - Penny Lane

Size: 112,2 MB
Time: 47:31
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Jazz Funk, Latin Jazz
Art: Front

01. Eleanor Rigby (4:56)
02. Fool On The Hill (4:00)
03. Penny Lane (4:45)
04. And I Love Her (4:25)
05. A Day In The Life (4:12)
06. While My Guitar Gently Weeps (4:53)
07. Here There And Everywhere (3:55)
08. I Want To Hold Your Hand (5:42)
09. Can't Buy Me Love (3:11)
10. Norwegian Wood (4:58)
11. In My Life (2:30)

On PENNY LANE The pop standard has been the jumping off point for jazz artists since jazz s birth. The formula is simple, but not easy. You stay true to the melody and you go where it takes you. But the Beatles? Yes, especially the Beatles. In John Basile s Penny Lane, the guitarist is honest to both of his project s masters. The iconic melodies of Lennon and McCartney and Harrison are given homage, not just simply run through as a starting point for some string gymnastics. They are there and they are honest. Yet, at the same time it is Basile s jazz guitar that let the classics breathe new air and come to life in this form. You hear it; actually you experience it, in the subtle and smooth Eleanor Rigby with its rich tones and lines that recall the original but with a fresh feel. In Norwegian Wood, Basile casts aside any doubt that he is first and foremost a jazz man, as he strays from the melody s path to where he lives. Where he goes, we can follow and the trip is rich and filled with the surprises that his art form promises. This is Basile s show from beginning to end. His guitar does what a jazz guitar has always done, but it also does all the things that today s technology allows for the instrument to do. Sure, the guitar playing is artful but so is the use of the instrument as a MIDI interface to create every sound on this project. Listen and try to remember that every note on this project has come through the guitar. You ll be lost in the music before you can ponder the wonders of digital potential and that s exactly how it should be. More interpretation than tribute, Penny Lane gives us a jazz project that does what the original American art form is supposed to do: it takes where we ve been and brings us someplace new all at the same time.
While Groups like Mike Pender's Searchers continue to perform, Genuine 60s Music will never die!

Penny Lane

Mike Pender's Searchers - The Essential Sound Of Mike Pender's Searchers

Size: 101,3 MB
Time: 37:26
File: MP3 @ 320K/s
Released: 2015
Styles: Pop/Rock
Art: Front

01. Sweets For My Sweet (Rerecording) (2:23)
02. Needles & Pins (Rerecording) (2:06)
03. When You Walk In The Room (Rerecording) (2:18)
04. Goodbye My Love (Rerecording) (2:55)
05. Sugar & Spice (Rerecording) (2:12)
06. Don't Throw Your Love Away (Rerecording) (2:15)
07. Love Potion Number 9 (Rerecording) (2:00)
08. Broken Hearts (Rerecording) (3:58)
09. Take It Or Leave It (Rerecording) (2:45)
10. Take Me For What I'm Worth (Rerecording) (2:48)
11. Red Ferrari (Rerecording) (3:50)
12. Blue Mondays (Rerecording) (3:17)
13. What Have They Done To The Rain (Rerecording) (2:40)
14. Someday We're Gonna Love Again (Rerecording) (1:56)

His is the rich vocal talent so evident on so many of the Hit recordings that have become 60's classics.
Everybody - even if they only have a passing interest in 60's Music, remembers "Needles & Pins" - one of the greatest ever records to come out of the greatest ever period in Pop Music History!
There were, of course, many other 'Hit' recordings that feature not only Mike's vocals, but also his equally distinctive 12-string 'jangly' guitar sound that became such a feature of The Searchers' recordings.

Remember....
"When You Walk In The Room"
"Sweets For My Sweet"
"Sugar And Spice"
"Don't Throw Your Love Away"
"What Have They Done To The Rain?"
"Goodbye My Love"
"Take Me For What I'm Worth"

All were Top 20 Hits, including no less than three Number Ones. They also had huge recording success in the USA which included the memorable "Love Potion Number 9".
Little wonder then that most observers considered The Searchers to be the most successful and important Group, after the Beatles, in that quite wonderful period of Pop Music.
In 1985 MIKE PENDER left The Searchers to form his own group. His aim was, and still is to this day, to faithfully recreate the sound and feel of those Hit Recordings and at the same time introduce other material that compliments Mike's unique voice and guitar style.

Mike's Group are:
Barrie Cowell - Bass Guitar/Vocals
Keith Roberts - Guitar/Vocals
and Mike Pender Jnr. (Mike's son) on Drums/Vocals

While Groups like Mike Pender's Searchers continue to perform, Genuine 60s Music will never die!

The Essential Sound Of