Wednesday, July 22, 2015

Sant Andreu Jazz Band - Live At Casa Fuster Barcelona

Bitrate: MP3@320K/s
Time: 72:06
Size: 165.1 MB
Styles: Big band
Year: 2009
Art: Front

[3:03] 1. Cute
[5:50] 2. Some Of These Days
[4:12] 3. Basin Street Blues
[5:14] 4. China Boy
[3:19] 5. Splanky
[2:39] 6. When You're Smiling
[3:39] 7. Tiger Rag
[5:05] 8. In A Sentimental Mood
[3:09] 9. Do You Know What It Means To Miss New Orleans
[2:09] 10. Bill Bailey
[6:22] 11. Careless Love
[3:12] 12. Shiny Stockings
[3:08] 13. Petite Fleur
[4:07] 14. The Sheik Of Araby
[5:25] 15. Black And Tan Fantasy
[5:15] 16. That's A Plenty
[4:25] 17. You Need To Rock
[1:45] 18. Turtle Walk

"The Sant Andreu Jazz Band is a dream come true. It is the result of sharing my passion for jazz with its members (most of whom are between 10 and 16 years old), of believing that they can do as well or better than me, of feeling like the most advanced student rather than the teacher, and of not putting limits on their abilities. The band was formed in 2006, in the heart of the Escola Municipal de Música de Sant Andreu. Since then it has gradually developed into what it is today: a large, open musical group that is constantly evolving." ~Joan Chamorro

“These young people are very lucky to have someone like Joan Chamorro. It is hard to find someone who can teach people to play with so much heart and with such a wide range of musical forms. They play everything with confidence, from the oldest sounds to swing. I am incredibly impressed. I will tell everyone about these young people when I get to New York” ~Scott Robinson

With Joan Chamorro, Dani Alonso, Juli Aymí, Josep Mª Farràs, Curro Gálvez, Ricard Gili, Carlos Martín, Pepe Robles, Clara Sallago, Ignasi Terraza, Josep Traver, Sergi Vergés.

Live At Casa Fuster Barcelona

Steve Dobrogosz & Anna Christoffersson - Covers

Styles: Vocal And Piano
Year: 2010
File: MP3@320K/s
Time: 66:09
Size: 152,1 MB
Art: Front

(4:20)  1. Ave Maria
(4:30)  2. Jealous Guy
(4:12)  3. Ooh Child
(6:12)  4. Like A Hurricane
(5:21)  5. Just The Way You Are
(5:45)  6. I Have Nothing
(4:47)  7. Through The Morning, Through The Night
(4:00)  8. Somewhere
(5:26)  9. I Heard It Through The Grapevine
(5:23) 10. A Song For You
(5:50) 11. Dig Me A Grave
(6:20) 12. All Around
(3:56) 13. Akikazeni

When utsökte Steve Dobrogosz do not write their own music, dedicated to the successful scaling down others, find hidden structures in the dusty pop for instance. With singer Anna Christoffersson he has also formed a popular duo with live taste. Their new cover collection on the album is a bit flat. Most of the interpretations with few exceptions, do not add anything new. Christofferson's voice is nice, but not really the life weight that is required in this mästarsamling. Ave Maria followed by Lennon's Jealous Guy are therefor a bit hard to digest as the start. How were you there? Translate by google ~ Ulf Johansson  http://www.gp.se/kulturnoje/recensioner/skivor/1.496255-steve-dobrogosz-anna-christoffersson-covers

Pianist Steve Dobrogosz and singer Anna Christoffersson has chosen a repertoire beyond jazz with Schubert's Ave Maria, and Leon Russell with a connection to blues and gospel and restoring the piano in rock. Marvin Gaye's I heard it through the grapevine may have been a special source of inspiration. There are strong feelings and careful eye for musical DEVICES individuality. 

The song is somewhat uneven, it happens that Christoffersson lets air through at the expense of the timbre of the voice. Translate by google ~ Ingrid Strömdahl  http://www.svd.se/anna-christoffersson-och-steve-dobrogosz_5682663

Covers

Chris Barber, Rod Mason's Hot Five - Jazz Holiday

Styles: Trombone and Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 45:07
Size: 104,8 MB
Art: Front

(3:25)  1. Jazz Holiday
(2:57)  2. Riverside Blues
(2:57)  3. Big Fat Ma and Skinny Pa
(4:56)  4. Lazy River
(4:17)  5. Papa Dip
(3:16)  6. West End Blues
(2:59)  7. Cornet Chop Suey
(4:06)  8. Trombone Cholly
(2:53)  9. Snake Rag
(4:22) 10. You Gotta Beat Me To Keep Me
(3:02) 11. My Mama's in Town
(3:23) 12. Ory's creole trombone
(2:27) 13. Muskrat Ramble

Donald Christopher 'Chris' Barber (born 17 April 1930) is a British jazz musician, best known as a bandleader and trombonist. As well as scoring a UK top twenty trad jazz hit, he helped the careers of many musicians, notably the blues singer Ottilie Patterson, who was at one time his wife, and vocalist/banjoist Lonnie Donegan, whose appearances with Barber triggered the skiffle craze of the mid-1950s and who had his first transatlantic hit, "Rock Island Line", while with Chris Barber's band. His providing an audience for Donegan and, later, Alexis Korner makes Barber a significant figure in the British rhythm and blues and "beat boom" of the 1960s. 
More Bio..https://en.wikipedia.org/wiki/Chris_Barber

An excellent trad jazz trumpeter influenced by Louis Armstrong but having a sound of his own, Rod Mason has recorded quite a few worthwhile albums although little of his work is readily available in the United States. Mason, who has played dixieland-oriented music throughout his career, is the son of Frank "Pop" Mason who played drums with the Savannah Orchestra in England during 1928-31. Mason has performed with the who's who of British trad including Cy Laurie (1959), Monty Sunshine (1962-66), Acker Bilk (1970-71), the Dutch Swing College Band (mid-1980's) and Chris Barber (who appeared as a guest on one of Mason's records) but he is most notable as a bandleader. Phil Mason, who has headed a sextet called his Hot Five along with a new Savannah Orchestra, has worked extensively in Holland and Germany in addition to England and recorded as a leader (starting in 1974) for WAM, Black Lion, Jeton and Timeless. Bio ~ Scott Yanow  http://www.allmusic.com/artist/rod-mason-mn0000243799/biography

Jazz Holiday

Budapest Jazz Orchestra - Everything's Alright

Styles: Jazz, Big Band
Year: 2007
File: MP3@320K/s
Time: 53:43
Size: 123,4 MB
Art: Front

(6:43)  1. Just For Basie
(8:53)  2. Upper Manhattan Medical Group
(7:02)  3. Silver In The Black
(5:28)  4. Everything's Alright
(5:12)  5. Let's Have A Chet
(7:54)  6. My Romance
(6:59)  7. Doxy
(5:29)  8. Last Chance

In 1998, he founded the Budapest Jazz Orchestra really big breakthrough for the national jazz scene, since it was created Hungary's first professional big band, the sound of which is the America of the '20s brought about. During the dynamic development of the band walking through stages of major music genres of contemporary music he has now recognized globally has grown into reprezentálójává. The BJO excellent work of proof in the last 15 years, during which time a number of concerts, national and international recognition, and countless foreign artist added color to the band's range. The BJO creed-ja: nurtured by the contemporary jazz, big band music cultivating the Contact the roots of the genre and make it public property values ??and professional experience to pass on to the young generation of musicians. Accordance with the purpose, the task of the Budapest Jazz Orchestra foundation of 13 years ago held the improvised and contemporary genres of Hungarian music culture domestic and international interpretation for the representation of Hungarian art values ??at a high level.

The band followed by the standard 17-member big band line-up: saxophone - Kollmann Gabor Arpad Dennert, Ákos Csejtei, Zoltan Zana, George Varga; Francis -Schreck trombone, Gabor Skerlecz, Frolov Akos Nagy Viktor Daniel; Peter -Tulkán trumpet, Hungarian Ferenc Aron Koos-Hutás Balázs Pecze ,; piano - Attila Juhasz; guitar - Land Nicholas;bass - Lime Victor; Drum - Andrew Mohay.

Operation of the BJO as a priority for-profit performing arts organization that operates as a BJO Office. BJO musicians not only professional jazz musicians, but many of them of significant domestic eMeRTon and Artisjus award-winning artist. However, several members of the BJO also artist-teacher, each member of the Franz Liszt University of Music, some other important national music education institutions teach. It serves as the basis for the fact that the band does not just focus on the big band genre of concert promotion, but their experience of passing it to the younger generations. The Budapest Jazz Orchestra is a regular participant in the domestic and foreign jazz festivals: the only Hungarian big bands, which invited He received the most prestigious festivals such as the Montreux Jazz Festival and the Cannes MIDEM festival. They played the Marciac Jazz Festival, the Jazz & Blues Festival in Ceska Lipa, but also the already famous concerts in Porgy & Bess Club in Vienna too - in addition to several other major venues. At the present moment the most important current possibilities in the big band was invited by two Danish Jazz Festival as well - both Aarhus and Copenhagen. The BJO the prestigious national arts festivals Permanent participant, just a few examples of the many options: Budapest Spring Festival, Sziget Festival, Kapolcs Palace of Arts Festival -Szving, Jazz Spring, Debrecen Jazz Festival, Festival of Louis Armstrong Bank. Starting from the band's performances of traditional big band of jazz genre -végigkísérte all the way from the early 20s to the present.

While previously only found true popularitásra a very short period of golden age of swing era, Glenn Miller and Benny Goodman - and the band's repertoire holds great bands like authors and works that are generally given less publicity, eg. Duke Ellington, Count Basie, Woody Herman, Tomy Dorsey, Stan Kenton, Buddy Ritch, Charles Mingus, etc. . big band st premiere in respect of a permanent element of the concerts presented the BJO members and other contemporary composers and instrument vote, for example: Károly Binder, Peter Eötvös, Linden Viktor Miklos Malek, Olah Kalman, Bela Lakatos Szakcsi, Gyorgy Szabados, Tommy Vig George Vukán, Peter Wolf, Bela Mercenary creations, some of whom work on CD released by the BJO elodásában. In addition, the BJO the Hungarian Jazz Association instrumentation and songwriting competition for home-band. The BJO's work - the jazz ensembles in a unique way - many internationally recognized artists worked together, it became internationally known through which the BJO big band's. Some examples are the highest in the world-famous guest: Joe Lovano (USA), Pat Appleton (Germany), George Duke (USA), Peter Erskine (USA), Ladislav Fidrám (Croatia), Thomas Gansch (Austria), Jasper van't Hof ( The Netherlands), David Kweeksilver (Netherlands), Butch Lacy (Denmark), Mark Nightingale (UK), Tony Lakatos (Germany), Dave Liebman (USA), Kevin Mahogany (USA), Al Di Meola (USA), Bob Mintzer (US ), Ed Neumeister (USA), Ken Peplowski (USA), Chris Potter (USA), Harry Sokal (Austria) Tommy Vig (USA). The band welcomes the opportunity to co-arts collaborations, like to participate musicians crossover trials creation.

In 2007, the BJO was asked in the second part of the cartoon music of Cat on feljátszására. Miklos Malek performance of her composition was a world premiere on the one hand, on the other hand, the cinema and the big band genre of the meeting. The art of the theater the moment the connection is continuous: the BJO regular contributor to the music of the Hungarian Theatre. In addition to the above, the BJO from the beginning a close collaboration with the Army Ensemble. Many members of the BJO teach lower middle and higher schools of jazz Hungary as well. Utilizing this opportunity every year, organized by the BJO will be held at Balatonboglári jazz camp. The camp is designed in addition to individual sessions with jazz stylish interplay of orchestral formation and awareness of the game. Members of the Budapest Jazz Orchestra led by an experienced individual sessions to learn the skills of the orchestra play happens. Great emphasis will be given lessons employing more young musicians: Section test (saxophone, trumpet, trombone, Section rhythm), band practice, big band full trial. The Budapest Jazz Orchestra's founder and organizer of the now 11 times took place in Budapest Big Band Meeting and Festival event. The festival is an important feature of its domestic palette is the most important aspect of these genres of professional event. The festival also has several aims: not only meeting the domestic big band formations, but also point the way for the amateur big band ensembles. Translate by google .. More  http://budapestjazzorchestra.hu/a_zenekar/biografia/

Everything's Alright

Phil Woods Little Big Band - Evolution

Styles: Saxophone Jazz
Year: 1988
File: MP3@224K/s
Time: 55:04
Size: 88,5 MB
Art: Front

( 5:13)  1. Hal Mallet
( 7:12)  2. Alvin G
(10:10)  3. Black Flag
( 5:44)  4. Thaddeus
( 8:51)  5. Which Way Is Uptown
( 6:32)  6. Song For Sisyphus
( 5:05)  7. Miles Ahead
( 6:13)  8. Rain Go Away

This release is somewhat special for the Phil Woods Quintet (consisting of the altoist/leader, trumpeter Tom Harrell, pianist Hal Galper, bassist Steve Gilmore and drummer Bill Goodwin) is joined by trombonist Hal Crook (who would take Harrell's place in the near future), baritonist Nick Brignola and tenor saxophonist Nelson Hill to form the "Phil Woods Little Big Band." Woods contributed five of the eight songs (which are played along with selections from Crook, Jerry Dodgion and Miles Davis) and, since the chatty liner notes make no mention of it, chances are that he also wrote the colorful arrangements. 

The consistently inventive horn solos (which are often concise) and the telepathic communication by the rhythm section (which had been together for years) makes this a particularly notable release even among the dozens of excellent Phil Woods recordings. ~ Scott Yanow  http://www.allmusic.com/album/evolution-mw0000652982

Personnel: Phil Woods (alto saxophone), Tom Harrell (trumpet, flugelhorn), Nick Brignola (baritone saxophone), Hal Crook (trombone), Nelson Hill (tenor saxophone), Hal Galper (piano), Steve Gilmore (bass), Bill Goodwin (drums).

Evolution

Tuesday, July 21, 2015

Gene Rodgers - After Hours

Bitrate: MP3@320K/s
Time: 63:23
Size: 145.1 MB
Styles: Jazz/blues piano
Year: 1972/2008
Art: Front

[5:30] 1. I Wish I Knew How It Would Feel To Be Free
[5:28] 2. Lullaby Of The Leaves
[5:28] 3. Makin' Whoopee
[5:27] 4. Peculiar Blues
[7:15] 5. After Hours
[6:06] 6. September In The Rain
[6:36] 7. Body And Soul
[4:32] 8. A Foggy Day
[5:30] 9. Good Grief
[5:12] 10. Yesterdays
[6:13] 11. Over The Rainbow

Piano – Gene Rodgers; Bass – Slam Stewart; Drums – Jo Jones. Recorded July 10, 1972, at the Bell Sound Studios, in New York City. Digitally remastered at Cargo Studio in Paris, France. Recordings originally issued on B&B 33.047 except tracks 8, 9, 10 & 11 that were never issued.

After Hours

Brewers Droop (feat. Mark Knopfler and Dave Edmunds) - Reel Gold

Bitrate: MP3@320K/s
Time: 51:46
Size: 118.5 MB
Styles: Rock
Year: 2013
Art: Front

[4:04] 1. Where Are You Tonight
[3:28] 2. Roller Coaster
[3:39] 3. You Make Me Feel So Good
[3:40] 4. My Old Lady
[2:33] 5. Sugar Baby
[4:06] 6. Rock Steady Woman
[3:19] 7. Louise
[2:23] 8. What's The Time
[4:56] 9. Midnight Special
[4:21] 10. Dreaming
[4:01] 11. Bite The Bullet
[3:35] 12. Real
[4:08] 13. You Don't Want Me Tonight
[3:27] 14. Cajun Girl

Brewers Droop was a Southern English band (whose history can be followed in "Hundred Watts" by Ron Watts) in which Mark Knopfler played for a few months in 1973. Knopfler split his time between teaching part-time, and playing with the band. Later, the Dire Straits song "Industrial Disease" (which Knopfler wrote and performed) mentions a malady (alongside smoker's cough) which shares its name with that band. The name is a reference to a slang expression for erectile dysfunction brought on by heavy drinking.

Reel Gold

Kenny Davern & The Rhythm Men - S/T

Bitrate: MP3@320K/s
Time: 59:37
Size: 136.5 MB
Styles: Clarinet jazz, New Orleans jazz
Year: 1995/2006
Art: Front

[8:07] 1. That Rhythm Man
[9:28] 2. Out Of Nowhere
[7:06] 3. Three Little Words
[6:20] 4. Say It Isn't So
[7:01] 5. Cherry
[6:56] 6. How Come You Do Me Like You Do
[6:54] 7. You're Lucky To Me
[7:41] 8. Lullaby Of The Leaves

For this quintet set with pianist John Bunch, guitarist Bucky Pizzarelli, bassist Bob Haggart and drummer Tony DeNicola, clarinetist Kenny Davern performs eight veteran jazz standards, seven of which he had never documented before. Davern is in typically swinging form, alternating a few romps with slower material. Highlights include "That Rhythm Man," "Three Little Words" and Eubie Blake's "You're Lucky to Me." A typically excellent outing by the great clarinetist. ~Scott Yanow

Kenny Davern & The Rhythm Men

Bucky And John Pizzarelli - Generations

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 62:26
Size: 143,6 MB
Art: Front

(3:49)  1. Fred
(5:32)  2. Polka Dots And Moon Beams
(3:58)  3. Rose Room
(5:23)  4. Midnight Sun
(3:41)  5. A Sleepin' Bee
(3:44)  6. At Sundown
(4:24)  7. I'll Remember April
(2:44)  8. The Second Movement Of Sonatina
(3:34)  9. Darn That Dream
(3:42) 10. Avalon
(6:00) 11. Early Autumn
(4:48) 12. Graham Avenue Stroll
(4:33) 13. How Long Has This Been Going On
(4:59) 14. The Way You Look Tonight
(1:28) 15. Variations And Fugue #9 on La Folia

While it isn't unusual that a father and son appear together on a jazz album, Bucky and son John Pizzarelli probably have a more extended track record of working together in the studio or on-stage than any other pair. Bucky has been a first-call sideman for over a half-century and a prolific leader on record as well, while John has been primarily a leader during his career, yet admits in his warm liner notes that he never has to worry about getting too big a head, as a trip home will quickly cure it during a session with his father. Both musicians play seven-string electric guitars (an instrument introduced by George Van Eps) and effortlessly segue between playing lead and rhythm as they explore standards and a few less frequently heard songs. The very deliberate rendition of "I'll Remember April" is refreshing, allowing for intricate playing that isn't possible when the tune is played at the typical race-horse tempo in a jazz setting.

The pair initially give Neal Hefti's "Fred" a country flavor with a loping introduction, though they quickly turn it into an intense swinger. Their jointly written composition "Graham Avenue Stroll" is a catchy tune with a bit of a jaunty side, penned in memory of Bucky's parents. Bucky plays acoustic classical guitar (with John sitting out) in Torroba's Second Movement of Sonatina and a brief interpretation of Ponce's Variation and Fugue #9 on 'La Folia.' Like all of their earlier recordings together, this CD is not just a family keepsake but one that jazz fans will treasure for generations. ~ Ken Dryden  http://www.allmusic.com/album/generations-mw0000477960

Generations

Carl Saunders - Eclecticism

Styles: Trumpet Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 70:20
Size: 161,6 MB
Art: Front

(5:14)  1. Fascinating Rhythm
(7:22)  2. Reaching For You
(4:47)  3. Valtz Opus 64 #2
(9:07)  4. First Gift
(5:18)  5. The Surrey With The Fringe On Top
(5:21)  6. Last Night When We Were Young
(5:32)  7. The Price Of Admission
(5:26)  8. Pentiction
(7:15)  9. Night Reverie
(7:42) 10. Old Folks
(7:11) 11. Blues For The Common Man

There is one unequivocal reason to acquire this album, and it can be summarized in two words: Carl Saunders. If you’ve not yet heard this unsung master of the trumpet / flugelhorn, it’s time you did. And if you’ve already been introduced I needn’t say more, as no doubt the decision has already been made to lay your hands on a copy of his second album, Eclecticism. While I can’t honestly say that I was inflamed by the decision to pair Saunders with a string orchestra, his consummate artistry overshadows every digression including several out of the ordinary choices of material. 

What emerges is a near facsimile of “Carl Saunders meets the Metropole Orchestra,” although Carl didn’t have to travel to the Netherlands to record it. Some listeners may find the strings and French horns delightful; I’d prefer less strings, more Saunders. As is the fashion these days, Carl overdubs his trumpet on most tracks to become a one man “trumpet section,” a device that works quite well in spite of the recording’s often intemperate reverb. The rhythm section, even though submerged at times beneath the weight of the strings, is top drawer, and here we must append an asterisk to the “one unequivocal reason” for procuring the album, as there is an ancillary reason pianist Billy Childs, whose tasteful interludes always leave one nodding his (or her) head in earnest appreciation. Saunders and Childs comprise an harmonious team, each one as staunchly resourceful as he is technically precise. Saunders plays muted trumpet on Jackson Stock’s “Pentiction,” flugel on the standard “Old Folks” (arranged by Joe Lano). He wrote “Reaching for You,” “Blues for the Common Man” and adapted Frédéric Chopin’s “Valse Opus 64, #2” for trumpet, strings and rhythm. 

The date’s better known arrangers include Bob Florence (“Fascinatin’ Rhythm”), Bill Holman (“Surrey with the Fringe on Top”) and Clare Fischer (“Last Night When We Were Young’). Other original compositions are by Scott Tibbs (“The Price of Admission,” “Night Reverie”) and Larry Dominello (“First Gift”) who also arranged “Reaching for You.” As far as unalloyed Jazz is concerned, Saunders and Childs have some of their best moments on the curtain–raiser (“Fascinatin’ Rhythm”) and finale (“Blues for the Common Man”). Elsewhere, the strings tend to impede any decisive movement in that direction. Eclecticism, of course, means choosing the most suitable components from a number of sources or styles, and as a showcase for Saunders’ trumpet–playing acumen, this wide ranging album achieves its goal. On the other hand, one can’t help thinking that Saunders could have unloaded the strings, saved himself a substantial piece of change, and made an even better one with Childs, bassist Magnusson and drummer Savino. Maybe next time . . . ~ Jack Bowers  http://www.allaboutjazz.com/eclecticism-carl-saunders-snl-records-review-by-jack-bowers.php

Personnel: Carl Saunders, trumpet, flugelhorn; Richard Todd, David Duke, Beth Lano, French horn; Assa Dori (concertmaster), Murray Adler, Patricia Aiken, Armen Anassian, Becky Bunnell, Isabelle Daskoff, Armen Garabedian, Marilyn Harding, Tiffany Hu, Joe Ketendjian, Irma Neumann, Don Palmer, Anatoly Rosinsky, Rob Sanov, Olivia Tsui, Elizabeth Wilson, violin; Lynn Grants, Andrew Picken, Kazi Pitelka, Karie Prescott, viola; Maurice Grants, Armen Kasjikian, Richard Treat, Cecilia Tsan, cello; Billy Childs, piano; Bob Magnusson, bass; Dave Stone, arco bass; Santo Savino, drums; Don Williams, percussion.

Eclecticism

Boby Lapointe - Comprend qui peut

Styles: Vocal, Chanson
Year: 2002
File: MP3@320K/s
Time: 48:07
Size: 111,2 MB
Art: Front

(1:53)  1. Ta Katie t'a quitté
(2:43)  2. Framboise
(2:46)  3. La maman des poissons
(2:12)  4. Aragon et Castille
(1:15)  5. Bobo Léon
(1:58)  6. Comprend qui peut
(1:12)  7. Marcelle
(2:50)  8. Saucisson de cheval
(2:35)  9. La peinture à l'huile
(0:48) 10. Je joue du violon tzigane
(2:45) 11. Sentimental bourreau
(1:34) 12. Eh! Toto
(1:51) 13. L'hélicon
(2:19) 14. Ca va, ça vient
(2:03) 15. Leçon de guitare sommaire
(2:47) 16. Andréa c'est toi
(2:23) 17. Le tube de toilette
(2:24) 18. L'idole et l'enfant
(2:54) 19. Je suis né au Chili
(3:05) 20. L'été où est-il ?
(3:39) 21. J'ai fantaisie

Boby Lapointe, whose real name is Robert Jean-François Lapointe Pascal Joseph, born 16 April 1922 in Pézenas ( Hérault ) and died 29 June 1972 in the same city, is an author, interpreter French , best known for his texts scattered puns , of contrepèteries and paronyms.
 
In 1946 , he married Colette Maclaud, with whom he had two children, Ticha and Jacky. They leave La Ciotat and the family moved to Paris , where he opened a trade layettes . The case does not work and the shop put the key under the door. In the process, the couple divorced and Lapointe changes jobs to become installer antennas TV without stopping writing. It was in 1954 that officially began his musical career: actor Bourvil and director Gilles Grangier choose one of his songs ( Aragon and Castile ) for a musical passage where Bourvil sings in the film April Fool . Étienne Lorin , the accordionist Bourvil, has indeed become friends with Lapointe and suggested that song Bourvil. Although the film like the song do not know success, Lapointe is finally introduced in the Parisian environment.

He made his debut as a singer in a cabaret, The Golden Horse . He came across Anne Sylvestre , Raymond Devos , Ricet Barrier and Georges Brassens , born with a mutual sympathy. Lapointe is noticed not only her physical presence (his size and athletic appearance are not strangers, as well as its deceptively gruff airs), but also for his random speech and text style while puns. It thus becomes the main attraction of the cabaret and drew attention of the director François Truffaut . The latter imagines it to play the role of bar singer in his new film Shoot the Piano , with Charles Aznavour in the role of pianist . The selected songs are Raspberry and Marcelle. Lapointe met Philippe Weil on set. It engages in another cabaret, The Three Donkeys . In 1960 and 1961 , there Lapointe recorded two records with songs including Marcelle, The fa Fish, Bobo Leon and Aragon and Castile , who finally meet success. The following compositions do not contradict this success: Helicon, Ta Katie has left you, horse sausage, Includes can, Meli-melody, Toilet Tube, The Mother fish ... Boby Lapointe became a recurring guest of Issue Green Grapes of Jean-Christophe Averty , for which he will even sing a song that is not in its usual repertoire, If I had a hammer , a sickle wielding knowingly. Translate by google.. More Bio https://fr.wikipedia.org/wiki/Boby_Lapointe

Comprend qui peut

Monday, July 20, 2015

Barney Kessel, Shelly Manne, Ray Brown - The Poll Winners: Exploring The Scene

Bitrate: MP3@320K/s
Time: 41:09
Size: 94.2 MB
Styles: Bop, Cool jazz
Year: 1960/1999
Art: Front

[3:53] 1. Little Susie
[4:51] 2. The Duke
[5:25] 3. So What
[3:25] 4. Misty
[3:29] 5. Doodlin'
[3:17] 6. The Golden Striker
[5:26] 7. Li'l Darlin'
[4:46] 8. The Blessing
[6:34] 9. This Here

For one of their better outings, the Poll Winners (guitarist Barney Kessel, bassist Ray Brown, and drummer Shelly Manne) perform nine fairly recent jazz standards. It is ironic that this is their only release not yet reissued on CD, since it may very well be their strongest program. The trio performs creative versions of such songs as "Little Susie," "So What," "Doodlin'," "This Here," and Ornette Coleman's "The Blessing." Worth searching for. ~Scott Yanow

The Poll Winners: Exploring The Scene

Anne Weerapass - Out Of Nowhere

Bitrate: MP3@320K/s
Time: 48:23
Size: 110.8 MB
Styles: Latin rhythms, Jazz vocals
Year: 2004/2011
Art: Front

[5:20] 1. Out Of Nowhere
[4:32] 2. The Way You Look Tonight
[5:30] 3. So Many Stars
[5:41] 4. I've Grown Accustomed To His Face
[4:09] 5. Night & Day
[6:14] 6. He's Funny That Way
[4:01] 7. Close Your Eyes
[3:51] 8. What A Difference A Day Made
[3:53] 9. So Nice (Summer Samba)
[5:08] 10. Embraceable You

Anne Weerapass has been singing professionally since she was 19, as a solo artiste, as well as lead vocalist for various bands. Her jazz repertoire covers the greats such as Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Dee Dee Bridgewater and Dinah Washington. She has worked with top international stars such as Ronan Keating and Regine Velasquez, and performed in Japan with Dick Lee during the promotional tour of his 'Mad Chinaman' album.

Anne performs regularly at various jazz bars and clubs internationally including the following ones in Singapore, The Fullerton, The Raffles Hotel, Equinox, and most recently at the Bamboo Bar in Oriental Bangkok. She has a wide repertoire that covers R&B, hip-hop, jazz-fusion, contemporary jazz, Top 40s, pop, retro and classics. Her versatility allows her to form a lively rapport with the audience, be it a lounge full of jazz enthusiasts, a crowded dance floor of teens or a bar of retro music fans.

Out Of Nowhere

Bryan Shaw - Night Owl

Bitrate: MP3@320K/s
Time: 60:31
Size: 138.5 MB
Styles: Trumpet jazz
Year: 2006
Art: Front

[3:52] 1. I Wish I Were Twins
[5:20] 2. Snafu
[5:24] 3. Body And Soul
[3:58] 4. Panhandle Roag
[5:19] 5. Ol' Pappy
[6:26] 6. Bean And The Boys
[8:16] 7. Night Owl
[4:18] 8. They Say It's Spring
[3:59] 9. I'm Comin' Virginia
[5:30] 10. Accent On Youth
[4:54] 11. Aunt Hagar's Blues
[3:09] 12. It's Been So Long

Trumpeter Bryan Shaw delivers a confident sound filled with melodic low-register work. His imaginative ballad work is reminiscent of Bunny Berigan and Bix Beiderbecke, while his fiery individualism reflects Roy Eldridge and Ruby Braff. Shaw's core band has the lustrous Dan Barrett on trombone plus some arrangements, innovative Brian Ogilvie on clarinet and tenor sax, inventive Dave Frishberg on piano and dynamic Jeff Hamilton on drums. Barrett and Ogilvie consistently deliver splendid solos. The ensemble is showcased best on "Accent on Youth," and on "Bean and the Boys," Coleman Hawkins' take-off on "Lover, Come Back to Me." Many of the album's 12 tracks reach back into the '30s and '40s, which may be "new" material for some listeners. A Kansas City-style rhythm section prevails throughout, providing a strong base for now-rare renditions of "Aunt Hagar's Blues," "Panhandle Rag," "Ol' Pappy" and "I'm Comin' Virginia." Recorded during two sessions in New York and California, the tracks alternately add Bucky Pizzarelli or Eddie Erickson on guitar, Scott Robinson or Chuck Wilson on reeds, Joel Forbes or David Stone on bass, with Rebecca Kilgore on two vocals. ~Patricia Myers

Night Owl

Aled Jones - Reason To Believe

Bitrate: MP3@320K/s
Time: 49:45
Size: 113.9 MB
Styles: Vocal, Easy Listening
Year: 2007
Art: Front

[4:33] 1. No Frontiers
[3:33] 2. Reason To Believe
[3:34] 3. Some Kind Of Wonderful
[2:40] 4. If, Song
[3:41] 5. Father & Son
[3:19] 6. Hallelujah, Song
[3:47] 7. Angel, Song
[4:13] 8. All My Trials Lord
[4:12] 9. Always There
[3:21] 10. The Rose, Song
[4:48] 11. You've Got A Friend
[4:36] 12. Be Still My Soul
[3:22] 13. Whenever God Shines His Light

One would never guess that Reason to Believe was an Aled Jones album, after all, wasn't he the choir boy with the angelic soprano voice singing the sorts of songs one would hear regularly on Songs of Praise or other religious television programs? Well, yes he was, but even choir boys grow up, and Jones shows a maturity in his voice on Reason to Believe that is both surprising and pleasant. There were still the religious overtones on tracks such as "Hallelujah," "All My Trails Lord," "Be Still My Soul," and "Whenever God Shines His Light," which was the only up-tempo track among of a sea of ballads, but the rest of the album was a mix of non-religious originals and cover versions. He duets with Cerys Matthews on "Some Kind of Wonderful," and Gretchen Peters joined him on the opening track "No Frontiers." Unlike both the original Cat Stevens and the Boyzone cover version of "Father and Son," he doesn't bother differentiating his voice between the two viewpoints. When he sings a beautiful original ballad like "Angel" or "Always There," one is left wondering why he felt the need to record inferior cover versions of David Gates' "If," Bette Midler's "The Rose," and James Taylor's "You've Got a Friend." His version of the title track is closer to the Glen Campbell version than the more famous Rod Stewart recording, but then it really would be too much to ask Aled Jones to sound like the biggest gravel-voiced crooner of all. ~Sharon Mawer

Reason To Believe

Briar Ross - Fly Me To The Moon

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 71:49
Size: 165,3 MB
Art: Front

(4:14)  1. It's The Mood That I'm In
(4:21)  2. Fly Me To The Moon
(7:04)  3. Maybe You'll Be There
(4:21)  4. Wild Is Love
(3:57)  5. Weaver Of Dreams
(5:35)  6. Where Are You
(4:08)  7. Sunday Kind Of Love
(5:58)  8. How Deep Is The Ocean
(5:14)  9. This Heart Of Mine
(5:12) 10. I'm Through With Love
(5:21) 11. All The Way
(5:13) 12. All By Myself
(5:03) 13. If You Were Mine
(6:00) 14. Talk To Me Baby Tell Me Lies

Briar Ross came to singing through (ironically) a fear of public performing, enrolling in a performance course that involved singing jazz music. This is her fourth album, with well-known local jazz musicians Julie Mason on piano, Frank Gibson Jr and saxophonist Roger Manins. Produced by Phil Broadhurst and recorded at York St studios with engineering by Simon Gooding, 'Fly Me to the Moon' is an album of smoothly performed jazz standards that suit a relaxed setting. The performances are consistent, and songs chosen are not always the more famous jazz numbers, with exception of the title track. The songs are clearly favourites of Ross, and the album benefits from this. Covering well-known popular jazz is an unenviable task, the original versions are usually synonymous with particular singers and anyone else attempting to make the song their own usually falls short of the mark. Briar Ross has done a good job with this album of standards - they may not be definitive, but they are approached with obvious affection, and the result is a pleasing album of well sung light jazz. ~ Amanda Mills  http://www.nzmusician.co.nz/index.php/ps_pagename/album/pi_albumid/1177

Fly Me To The Moon is jazz vocalist Briar Ross' fourth album. The title track aside (ultra famous Jazz standard Fly Me To The Moon) the album consists of little known works that are favourites of Ross; a mixture of beautiful ballads and medium swing numbers. The album features some very well known New Zealand jazz artists including Frank Gibson Jnr on drums, Julie Mason on piano, Andy Brown on Bass, and Roger Manins on sax. The album is also partially dedicated to Andy Brown who sadly passed away. http://www.amplifier.co.nz/release/40492/fly-me-to-the-moon-in-other-words-i-love-you.html

Fly Me To The Moon

Ben Paterson Trio - Essential Elements

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 59:02
Size: 135,7 MB
Art: Front

(5:33)  1. Golden Lady
(4:43)  2. Here, There And Everywhere
(6:18)  3. Back On Track
(3:31)  4. Around The Block
(4:14)  5. I Can't Help It
(3:43)  6. Lucky Southern
(4:19)  7. I Should Care
(4:09)  8. The Good Stuff
(5:03)  9. St. Marks Place
(3:41) 10. Mor
(5:31) 11. I've Never Been In Love Before
(3:37) 12. Hard Times
(4:33) 13. You're My Everything

An effervescent old school swing with a blues infused soul makes Ben Paterson a name to remember!  Piano trios are a tightly grouped pack of virtuoso talent where it is indeed feast or famine. While the pianist walks the harmonic tightrope of lyrical invention the often predictable release can lead to the all too common implosion of self absorbed pretentious ego gone wild, seen it a hundred times. Ben Paterson turns in a master class of swing with Essential Elements and quietly establishes himself as one of the new young lions of improvisational music. Cole Porter, Bill Evans, and maybe George and Ira Gershwin are usually found on most trio releases but Essential Elements is a well thought out exploratory on swing with a deceptively subtle blues infusion that includes tunes from Stevie Wonder, Keith Jarrett and Ray Charles. Artistic comparisons are inherently unfair while Paterson's influences on Essential Elements may run along the melodic lines of an Oscar Peterson the presentation is uniquely Ben Paterson.There is a buoyant lift to Paterson's playing that is complimented by the rhythm section of Joshua Ramos on bass and Jon Deitemyer on drums whose motto would seem to be swing hard or go home!

The trio has that uncanny ability of being able to shift dynamics on the fly while never losing that melodic sense of purpose or groove that permeates this release.  Covering pop tunes is both incredibly cliché and potentially lethal if the arrangements are not tight. "Here, There And Everywhere" is given new life while the Ray Charles classic "Hard Times" is pulled from the rich sonic color palate would seem to be the Paterson wheelhouse. Covering Keith Jarrett is a daunting task for the most seasoned of performers yet Paterson rolls through "Lucky Southern" with an understated flair that reinforces the old adage simplicity is the ultimate in sophistication. Two Paterson originals that highlight his prolific ability as a composer are "The Good Stuff" and "St. Marks Place." Ben Paterson is that new breed of pianist that is transcending some of the more traditional approaches to a classic format with a melodic swing and a blues based improvisational footing that pushes this trio right to the top of that crowded field working the New York scene. This is a throwback release, old school made into an inventive new cool presentation and hopefully just a taste of what is to come from one of improvisational music's rising stars. ~ Brent Black  http://www.criticaljazz.com/2013/12/ben-patterson-essential-elements.html

Personnel: Ben Paterson: Piano; Joshua Ramos: Bass; Jon Deitemyer: Drums

Essential Elements

Bob Dorough - Right On My Way Home

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 53:23
Size: 122,8 MB
Art: Front

(5:36)  1. Moon River
(6:06)  2. Whatever Happened To Love Songs?
(3:22)  3. Right on My Way Home
(6:32)  4. Walk On
(4:32)  5. I Get the Neck of the Chicken
(4:54)  6. Zacherly
(4:43)  7. Something For Sidney
(5:58)  8. Hodges
(5:36)  9. Up Jumped A Bird
(6:00) 10. Spring Can Really Hang You Up the Most

As one of the key voices of Schoolhouse Rock, Bob Dorough acquired many fans, but no one ever knew his name. Even after the series ended, he was reluctant to pursue a full-fledged recording career, which made 1997's Right on My Way Home an album he recorded when he was 73 something of an event. It was one of the rare occasions that Dorough was able to demonstrate the depth and range of his talent. Like Mose Allison, he has a friendly, idiosyncratic variation on bluesy scat and bop that sounds equally at home on standards ("Moon River," "Spring Can Really Hang You Up the Most") or originals ("I Get the Neck of the Chicken," "Something for Sidney," "Up Jumped a Bird"). Some tastes might Dorough find a bit too cutesy, yet there's no denying that he can make a song his own, and Right on My Way Home is one of the best proofs of that statement. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/right-on-my-way-home-mw0000028948

Personnel: Bob Dorough (vocals, piano); Joe Lovano (soprano & tenor saxophones); Bill Takas, Christian McBride (bass); Grady Tate, Billy Hart (drums).

Right On My Way Home

Herbie Nichols - The Art of Herbie Nichols

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 65:05
Size: 149,6 MB
Art: Front

(4:12)  1. The Third World
(5:13)  2. Step Tempest
(4:23)  3. Blue Chopsticks
(4:43)  4. Cro-Magnon Nights
(4:44)  5. 2300 Skiddoo
(4:12)  6. Shuffle Montgomery
(4:23)  7. The Gig
(4:00)  8. Hangover Triangle
(4:24)  9. Lady Sings the Blues
(5:38) 10. House Party Starting
(6:04) 11. Sunday Stroll
(3:59) 12. Terpsichore
(4:11) 13. Riff Primitif
(4:53) 14. The Spinning Song

Herbie Nichols spent most of his career toiling away in dixieland bands, rarely allowed the privilege of performing his own unique compositions, except on a 1953 10" for Savoy and a 1957 session for Bethlehem. In between, though, in 1955-1956, he got to do five sessions for Alfred Lion's Blue Note label, producing some of the greatest piano trios in the history of jazz from which The Art Of Herbie Nichols is assembled. Nichols' tunes are rich in rhythmic variety and percussive breaks, and the performances he elicits from drum legends Art Blakey and Max Roach are among their greatest, rivalling their work with Thelonious Monk the pianist Nichols is most often compared to. But where Monk's playing has a bluesy, guitar-like texture and attack, Nichols has a more loping pianistic gait, and a harmonic pallete that can suggest Bartok, Jelly Roll Morton and Art Tatum in a single chorus.

Nichols's tunes range from slow bluesy strolls like "Spinning Song" and "Lady Sings The Blues" (written for Billie Holiday, his most famous tune), to galloping harmonic romps like "The Gig." Nichols' playing is completely original and devoid of pianistic cliches, and while his use of chords often suggests polytonal ambivalence, his harmonic juxtapositions and resolutions are triumphantly tuneful. The manner in which he continually extends his melodic lines and precipitates polyhryhmic exchanges with his drummers keeps tensions at a constant boiling point, and makes for some of most swinging music in the history of jazz. In many ways, his work anticipates the explorations of modernists like Herbie Hancock, Cecil Taylor, Andrew Hill and Gerri Allen, and once you've heard his playing, it's hard to imagine how his joyous original slipped between the cracks, barely making a blip on the radar screen of history before passing away from leukemia in the early '60s at the age of 42. http://www.cduniverse.com/productinfo.asp?pid=4766790&style=music&fulldesc=T

Personnel: Herbie Nichols (piano), Al McKibbon, Teddy Kotick (bass), Art Blakey, Max Roach (drums).

The Art of Herbie Nichols

Archie Shepp - Attica Blues

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 37:24
Size: 86,0 MB
Art: Front

(4:47)  1. Attica Blues
(0:19)  2. Invocation: Attica Blues
(5:07)  3. Steam (Part 1)
(3:16)  4. Invocation to Mr. Parker
(5:10)  5. Steam (Part 2)
(4:00)  6. Blues for Brother George Jackson
(0:29)  7. Invocation: Ballad for a Child
(3:36)  8. Ballad for a Child
(4:22)  9. Good Bye Sweet Pops
(6:12) 10. Quiet Dawn

Refining his large-ensemble experiments of 1971, Attica Blues is one of Archie Shepp's most significant post-'60s statements, recorded just several months after authorities ended the Attica prison uprising by massacring 43 inmates and hostages. Perhaps because Shepp's musical interests were changing, Attica Blues isn't the all-out blast of rage one might expect; instead, it's a richly arranged album of mournful, quietly agonized blues and Ellingtonian swing, mixed with a couple of storming funk burners. Of course, Shepp doesn't quite play it straight, bringing his avant-garde sensibilities to both vintage big band and contemporary funk, with little regard for the boundaries separating them all. 

His soloing on tenor and soprano is typically sharp-edged and modal, and his nasal, slicing tone on soprano is featured quite heavily. The stylishness of the slow numbers is undercut with quivering, faintly unsettling dissonances, and the up-tempo funk cuts recall the way Sly Stone's arrangements ping-ponged many different elements off each other in a gleeful organized chaos. That's especially true on the gospel-inflected title song, a monster of a groove that later became a hit on the acid jazz revival circuit (and stands up to anything recorded by straight-up funk bands of the era). In the same vein, "Blues for Brother George Jackson" sounds like an edgier Isaac Hayes-style blaxploitation soundtrack cut. Vocal ballads are plentiful, and Joe Lee Wilson ("Steam," a song Shepp would return to often) and Carl Hall (aka Henry Hull) both acquit themselves well; more debatable are the poetic recitations and the choice of flügelhornist/composer Cal Massey's young daughter Waheeda to sing "Quiet Dawn" (although Waheeda's almost-there intonation is effectively creepy). Still, in the end, Attica Blues is one of Shepp's most successful large-group projects, because his skillful handling of so many different styles of black music produces such tremendously groovy results. ~ Steve Huey  http://www.allmusic.com/album/attica-blues-mw0000648984

Personnel : Archie Shepp (soprano & tenor saxophones); Marion Brown (alto saxophone, flute, bamboo flute, percussion); Walter Davis Jr. (piano, electric piano); Joe Lee Wilson (vocals), William Kunstler (spoken vocals); John Blake, Leroy Jenkins (violin); Cal Massey (flugelhorn); Charles Greene (trombone); Cornell Dupree (guitar); Jimmy Garrison (bass); Beaver Harris, Billy Higgins (drums); Juma Sultan (percussion).

Attica Blues