Novecento - All The Best

Bitrate: MP3@320K/s
Time: 79:38
Size: 182.3 MB
Styles: Pop-jazz
Year: 2015
Art: Front

[4:25] 1. Anytime
[3:29] 2. Surround Me
[4:39] 3. A New Day
[5:51] 4. Artic
[3:17] 5. For A Moment
[4:08] 6. Endless Night
[5:18] 7. It's Time To Go
[4:29] 8. The Night-(2014 Version)
[4:31] 9. Cry
[4:25] 10. Anytime (Instrumental Version)
[4:01] 11. Broadway
[4:33] 12. Vision
[4:27] 13. Tell Me Something
[4:21] 14. Let Me Breathe
[5:04] 15. Now That You've Gone
[4:05] 16. I Want You More
[4:19] 17. Movin' On
[4:06] 18. Excessive Love

Lino Nicolosi guitar; Rossana Nicolosi Bass; Pino Nicolosi keyboards; Dora Nicolosi Voice.

The band Novecento was formed in 1984 and released the track "Movin' on" which became number one in Italy. In the same year the group won the “revelation of the year” award.

Over the years the band has produced and worked with many international stars such as Sting, Billy Preston, Randy Crawford, Dominic Miller and Billy Cobham to name just a few. They signed with ZTT (Trevor Horn’s label) for the European market and are distributed in America under the Atlantic label. In 2001 they wrote and produced the album by Billy Cobham (celebrated drummer and icon of the seventies) published by 24 Sony affiliates throughout the world.

All The Best

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Caroline Dahl - Night House

Bitrate: MP3@320K/s
Time: 59:07
Size: 135.3 MB
Styles: Piano jazz, Boogie woogie
Year: 2003
Art: Front

[3:49] 1. Junebug Boogie
[4:45] 2. Highballing The Overnighter
[5:41] 3. Payday Boogie
[5:53] 4. Mexicali Rose Medley
[3:27] 5. Jackson Ramble
[5:41] 6. Night House
[3:27] 7. River City
[4:11] 8. Rumbah Numbah
[3:13] 9. Waltz For Jake
[4:08] 10. Swanee River Boogie
[3:24] 11. Nerve Knot
[4:15] 12. Devil Digit
[3:36] 13. Mary Lou's Blues
[3:31] 14. Tearing Up Heaven

"Night House" is Caroline's second CD and it has 14 instrumental songs featuring her extraordinary piano playing. Twelve of the songs are her original compositions and all are in the American roots styles of boogie-woogie, blues, jazz and country swing. One reviewer has said about "Night House" -- "Caroline's impulsive beats and relentless rhythms drive her sound into near-frenzy. Totally original, but far from being over-stated, she pumps out the songs in a way that would make Jerry Lee Lewis beg for mercy."

"Night House" has a couple of songs showcasing Caroline's solo piano, while the duets, trios and quartets feature the outstanding San Francisco Bay-area musicians Bowen Brown and Kent Bryson on drums, Tim Wagar on bass, Tom Rigney on violin, and Rob Sudduth on tenor sax. This self-taught master pianist of American indigenous piano styles is originally from Louisville, Kentucky, where she played with the Metropolitan Blues All Stars (June Appal Records, Taxim Records). San Francisco has been her home for over 30 years, where she currently performs solo around the Bay area and with Tom Rigney & Flambeau.

Night House

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Johnny Rivers - Greatest Hits

Bitrate: MP3@320K/s
Time: 29:45
Size: 68.1 MB
Styles: AM pop
Year: 1990
Art: Front

[2:33] 1. Memphis
[2:15] 2. Maybellene
[2:29] 3. Midnight Special
[2:46] 4. The Seventh Son
[3:43] 5. Where Have All The Flowers Gone
[3:03] 6. Secret Agent Man
[3:33] 7. Poor Side Of Town
[3:05] 8. Baby I Need Your Lovin'
[2:52] 9. The Tracks Of My Tears
[3:22] 10. Rockin' Pneumonia And The Boogie Woogie Flu

Johnny Rivers is a unique figure in the history of rock music. On the most obvious level, he was a rock star of the 1960s and a true rarity as a white American singer/guitarist who made a name for himself as a straight-ahead rock & roller during the middle of that decade. Just as important behind the scenes, his recordings and their success led to the launching, directly and indirectly, of at least three record labels and a dozen other careers whose influence extended into the 1970s, 1980s, and beyond.

Rivers was very much a kindred spirit to figures like Buddy Holly and Ronnie Hawkins, with all of the verve and spirit of members of that first wave of rock & rollers. He had the misfortune of having been born a little too late to catch that wave, however, and took until the middle of the next decade to find his audience. Born John Henry Ramistella on November 7, 1942, in New York, his family moved to Baton Rouge, LA, in 1948, and it was there that his musical sensibilities were shaped. His father, who played the mandolin and guitar, introduced him to the guitar at an early age, and he proved a natural on the instrument.

Meanwhile, Ramistella also began absorbing the R&B sounds that were starting to turn up on the airwaves at the dawn of the 1950s. Additionally, he got to see performers like Fats Domino and Jimmy Reed in person, and by the time he entered his teens, he was immersed in rhythm & blues. ~Bruce Eder

Greatest Hits

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Denny Zeitlin - Slickrock

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 67:49
Size: 155,6 MB
Art: Front

(4:36)  1. You And The Night And The Music
(9:42)  2. Wishing on the Moon
(6:55)  3. Every Which Way
(3:41)  4. Put Your Little Foot Right Out
(5:54)  5. It Could Happen To You
(8:01)  6. Body And Soul
(4:38)  7. Sweet Georgia Brown
(4:55)  8. E.S.P.
(3:37)  9. Just Passing By
(2:35) 10. Dawn, Gathering
(5:09) 11. On the Trail
(5:17) 12. Recovery
(2:43) 13. On the Trail Again

With his straight-ahead acoustic piano trio, Denny Zeitlin improvises over familiar standards and fresh originals. As a practicing psychiatrist in the San Francisco Bay Area, he also teaches at the University of California and lectures on the psychology of improvising. A good teacher should always demonstrate when necessary, and who better for the task than one who’s devoted a lifetime to jazz performance? Zeitlin has juggled two careers to fulfillment, and he continues to demonstrate his capacity to lovers of the tried-and-true formula.

The four-part suite that closes the album introduces yet another facet of the pianist’s many interests. Zeitlin has written this suite as a token of his love for mountain biking. His dramatic piece depicts the adventure that weekend cyclists absorb while traveling over slickrock in various parts of the world. Momentum carries the suite through its phases; one must always stop to rest and enjoy the view from time to time. Piano, bass and drums thunder out recollections of the way such a scenic outing can capture your heart. Physical exertion and occasional rest areas make for a full weekend and a healthy lifestyle. Zeitlin has translated these ideas into a mesmerizing musical form. 

Standards such as “Body and Soul” ring familiar, offering proof that no two improvised performances are ever the same. As the trio slow dances comfortably through this chestnut, their spontaneous inventions flow naturally. A bass solo and a cloudy sky of wire brush swirls give the pianist the kind of support desired. Wayne Shorter’s “E.S.P.” proves more drama, with its up-tempo walk and arpeggio-laden romps. Zeitlin’s lesson in improvisation is just what the doctor ordered. ~ Jim Santella  http://www.allaboutjazz.com/slickrock-denny-zeitlin-maxjazz-review-by-jim-santella.php

Personnel: Denny Zeitlin: piano; Buster Williams: bass; Matt Wilson: drums.

Slickrock

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George Michael - Songs From The Last Century

Styles: Vocal, R&B
Year: 1999
File: MP3@320K/s
Time: 42:02
Size: 96,6 MB
Art: Front

(4:19)  1. Brother Can You Spare a Dime?
(4:08)  2. Roxanne
(4:22)  3. You've Changed
(1:41)  4. My Baby Just Cares for Me
(5:19)  5. The First Time Ever I Saw Your Face
(5:10)  6. Miss Sarajevo
(4:09)  7. I Remember You
(2:37)  8. Secret Love
(4:02)  9. Wild Is the Wind
(6:09) 10. Where or When/It's Alright with Me

Unlike many covers albums, Songs From the Last Century is a cohesive, enjoyable diversion. With the help of co-producer Phil Ramone, George Michael has crafted a warm, intimate album built around a small combo of piano, guitar, bass, and drums. Orchestras, big bands, harps, and on one occasion, a rock band augment the basic combo, yet the flourishes never change the essential, close-knit nature of the group. For the first time ever, Michael sounds relaxed. He's lying back, singing songs he loves, not worrying about chart success, and the end result is quite fetching, even if it isn't perfect. The main flaw with Songs From the Last Century is that it's so smooth, it's occasionally a little sleepy, a trait that's emphasized by Michael's fairly predictable taste in covers "Brother Can You Spare a Dime," "My Baby Just Cares for Me," and "The First Time Ever I Saw Your Face," among others. Nevertheless, he does bring style and sophistication to these standards, even such often-covered yet still difficult tunes as "Wild as the Wind." When his selections are idiosyncratic whether it's a jazzy reading of "Roxanne," the brassy "Secret Love," the little-remembered "I Remember You," or a revelatory reading of "Miss Sarajevo," a song commonly dismissed as a U2 side project the album is delightful. Certainly, Songs From the Last Century isn't a major work; it's a way for Michael to decompress and have some fun, and the diehards who stuck with him through the turbulent '90s are likely to be charmed. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/songs-from-the-last-century-mw0000672369

“Songs From The Last Century was nominated for the 2001 Grammy Award for Best Traditional Pop Vocal Album.”

Personnel includes: George Michael (vocals); Rob Mathes, Torrie Zito, Rob Mounsey (arranger, conductor); Jeff Mironov, Hugh Burns, Phil Palmer, Howie Gondewe (guitar); Elena Barere, Laura Hamilton (violin); Sue Pray, Maryhelen Brennard (viola); Richard Locker, Diane Barere (cello); Corky Hale, Stacey Shames (harp); Pamela Sklar, Katherine Fink (flute); Virgil Blackwell (clarinet, bass clarinet); Diane Lesser (oboe); Kim Laskowski (basoon); Rich Dallesio (English horn); Jim Hynes, Tony Kadleck (trumpet); Charlie Pillow, Andy Snitzer, Ken Hitchcock (woodwinds); Rob Mathes, Rob Mounsey (piano); Chris Cameron, Peter Gordeno (keyboards); David Finck (acoustic bass); Steve Walters (bass); Lewis Nash, Shawn Pelton, Frank Tontoh (drums); Danny Cummings (percussion).

Songs From The Last Century

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Johanna Schneider Quartet - Pridetime

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 71:14
Size: 164,4 MB
Art: Front

(6:23)  1. Moondance
(6:07)  2. Lonely Dancer In The Rain
(5:19)  3. Circus Infinitus
(4:37)  4. Throw It Away
(6:35)  5. Since I Fell For You
(6:18)  6. Melody Of Great K.J.
(4:42)  7. Waters Of March
(7:28)  8. Mondgesang
(6:12)  9. Ethiopian Moon
(6:19) 10. Turn Out The Stars
(2:57) 11. My Song
(8:13) 12. Pridetime

The survival reflex. A bit of swing. . . Oh well, let's just call it groove, catchy, iPod compatible harmonies, with which you can hum along, clever, comprehensible texts, a veteran band and listening hurdles that are not too high. After all, the CD is supposed to sell well and not scare off people even partially interested with the plague and cholera branding "jazz". This path of least resistance provides at least a little bit of attention for every woman with a reasonably pleasant voice who is blessed with good looks. Many talented vocalists, who once began training as jazz singers with big ambitions, are now anchored in the safe harbor of the spirit of the times.

But there are exceptions thankfully! Johanna is one such exception, who thumbs her nose at the trend to randomness and anonymity in the German vocal jazz scene with courage, perseverance, improvisation pleasure and a refreshing tendency towards perfectionism. When did you last hear a singer scat so wildly in these times of pop-jazz elves, with a distinctive expression almost approaching its own language of art at times. When was there a vocal album recently by a young person, who has dedicated herself completely to jazz and takes every freedom of phrasing, whether in the interpretation of standards or her very personal own songs? "Oliver Hochkeppel asks in the liner notes to Johanna Schneider's debut album" Pridetime," which adds a new, very bright shimmering gem to the successful Jazz thing Next Generation series.

It's a question of her own credibility for the 28-year-old singer who grew up in Bamberg: Do not give way, even if reason offers a different solution, but instead trust your instincts. That's why she left Munich after passing her university preliminary examination in 2009, despite important personal and professional ties. The power woman from the Franconian part of Bavaria met Romy Camerun at a workshop, who teaches the Essen Folkwang University of the Arts. "I knew immediately that I had to study under her," Johanna Schneider recalled. Just a gut feeling. She works regularly as a duo with the pianist from Essen Marc Brenken, was awarded the WDR Jazz Award with the NRW Youth Jazz Orchestra in 2013 and helped to establish the a-cappella female quintet "Cayenne". However, her old Munich quartet still remains her top priority. With pianist Titian Jost, one of her former teachers, bassist Andy Kurz and drummer Bastian Jütte, she has three of the best representatives of swinging jazz in Germany on her side. The fact that the seasoned crew contributes essentially to the unmistakable sound of "Pridetime" goes almost without saying. In addition, Ack van Rooyen and Tony Lakatos enriched two tracks with their thrilling flugelhorn and tenor saxophone solos.

Johanna Schneider already developed the aspiration necessary for such ambitious projects in childhood. Thanks to her single mother, she enjoyed a solid musical education, learned violin and piano as well as ballet dancing. The theater, musicals and training as a speaker followed. Johanna has sung ever since she can remember. She performed with her own band on stage when she was 14 composed her own songs at 16. The very first, i.e., "My Song", now shows up among the twelve songs of "Pridetime", which Johanna either all composed herself or for which created completely new arrangements in the case of her favorite songs "Moon Dance" by Van Morrison, "Throw It Away" by Abbey Lincoln, " Since I Fell For You "by Buddy Johnson," Ater Of March "by Antonio Carlos Jobim and " Turn Out The Stars "by Bill Evans.

As a result, "Pridetime" becomes a journey through a very personal musical experience with unexpected discoveries and very different influences. Melancholic ballads, sizzling swing and African rhythms merge to become a coherent musical language. Johanna is not afraid to cross the Rubicon to the German language either, for example, in "Circus Infinitus" and "Mondgesang". This is because her lyrics are as different as their overall presentation and her CD. Oliver Hochkeppel calls the extraordinary debut CD of the young singer "A story of self-assertion and the pride to be her own pilot again after many tears." Johanna Schneider can be rightly proud of it. And people can consider themselves fortunate that someone finally remembers the actual goal of the vocal jazz: namely, to enchant. http://www.doublemoon.de/en/cddetails/dmchr71156.shtml

Musicians: Johanna Schneider voc;  Tizian Jost p, rhodes, vibraphone;  Andreas Kurz b;  Bastian Jütte dr;  Special Guests: Ack van Rooyen flh (track 2 & 9);  Tony Lakatos ts (tracks 5 & 6); Rakel Salazar voice (track 6 & 8).

Pridetime

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Lili Anel - I Can See Bliss From Here

Size: 112,1 MB
Time: 48:38
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Something To Do (4:10)
02. Blindsided (5:31)
03. Living For Today (3:08)
04. The Best Part Of Me (Song For Joey) (4:05)
05. Go Home (3:53)
06. Losing My Faith (3:17)
07. Got Me Thinking (5:58)
08. Out Of Control (4:19)
09. This Love Is Over (4:34)
10. Blindsided #2 (5:41)
11. Today (3:57)

With I Can See Bliss From Here, singer-songwriter Lili Anel presents a set of personal songs that deeply touch the listener's ear, mind and soul, and bring to mind the confessional yet universal genius of such songwriters as Tracy Chapman, Phoebe Snow and Roberta Flack—they really are that well-written. "These are the songs I want to put out to the world at this time," she says simply. "It's what I wrote. They reflect where I am right now."

I Can See Bliss From Here reflects all the hustle and bustle of Añel's own life: As her bio explains, she's "a New York-born Cuban-African American" who has lived the past decade in Philadelphia, where she befriended pianist Dale Melton, who co-produced Bliss, her sixth release. "We have much in common," Añel explains. "A love of the music by The Band, among others, and a shared ideology of community in music." (Lili and Dale are both identical twins, too.)

"Something to Do" tells the story of how she grew up in Harlem ("I was born and raised in the barrio on 110th Street," she begins) atop a chugging Latin rhythm spiced with horns. Añel then recalls her mother, who worked to support her family six days out of seven and died in her early 50s, and shares a wonderfully self-effacing (not self-pitying) verse about her shaved head and the autoimmune disease Alopecia Areata, which causes hair loss): "I shaved my head bald today. You see, most of my hair had fallen out anyway. And when people laugh at me, I just smile because I believe they're just scared it could be them instead of me."

A song to her son, "The Best Part of Me (Song for Joey)" swims in deceptively deep, shifting musical and emotional currents ("On the day that you were born, my heart melted")—a beautiful idea, beautifully played and sung.

But Bliss also lifts Añel's vision to more broad horizons. Her moaning vocal and Tom Hampton's groaning guitar scrape out the raw and ragged, tough as nails "Go Home," a contemporary blues that begins with the story of how she was "written up at work" because she "laughed too loud" but ends with her calling on the heavens to take her home for good. Liner notes by New York Music Hall of Fame Director Robbie Woliver call this "the album's biggest revelation, (is) an infectious field-holler-styled blues lament that takes modern-day work drudgery to another level."

Because this entire set is about carrying on in the face of circumstances that suggest you'd be better off packing it in, "Losing My Faith" might have been this set's title track. Its chorus is this set's most beautiful melody, and frees Añel's voice to float and soar like a songbird. It's a tribute to her creativity and spirit that Lili Añel Can See Bliss From Here. ~by Chris M. Slawecki

Personnel: Lili Añel: vocals, acoustic guitar, Gretsch electric guitar; Dale Melton: grand piano, Hammond organ, Wulitzer electric piano, Telecaster guitar; Kevin Hanson: lead nylon string guitar; Tom Hampton: Resonator, Fender Jaguar Baritone Custom guitar; Charlie Alletto: guitar; Patrick Hughes: trumpet; David Fishkin: alto saxophone; Steven Gokh: tenor saxophone; Larry Toft: trombone; Bill Zinno: upright bass; Mike Kurman: electric bass; Chico Huff: electric bass; Charlie Patierno: drums; Fred Berman: drums; Ben Wittman: percussion, drums; Yasuyo Kimura: congas, bongos, guiro; Victor Rendon: timbales.

I Can See Bliss From Here

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Joe Smith & The Spicy Pickles - High-Fidelity

Size: 104,0 MB
Time: 42:33
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Swing
Art: Front

01. Slow Cookin' (Theme Song) (0:54)
02. Obviously (3:31)
03. The Pen Is Mightier (3:32)
04. The Baltiquerque Stomp (3:39)
05. Benny's Blues (4:06)
06. Chubby's On The Way (3:20)
07. Chelsea After Dark (3:35)
08. Gin & Tonic (4:21)
09. It's Alright For A Night (3:40)
10. Dark Elixir (4:47)
11. The Gherkin Train (3:20)
12. Slow Cookin' (Reprise) (3:43)

Personnel:
Joe Smith - Trumpet
Prescott Blackler - Trombone
Elijah Samuels - Clarinet and Tenor Sax
Al Scholl - Guitar
Joseph Chudyk - Drums (and vibes on The Pen is Mightier)
Adam Sammakia - Bass

Denver-based vintage jazz group Joe Smith & The Spicy Pickles present their second full length album, and fourth overall release, "High-Fidelity", an album of all original swing music inspired by the classic small group sounds of the late 30’s and early 40’s. The concept behind “High-Fidelity” is to provide a smart recording of new, danceable tunes for the swing and blues communities. The album aims to give dancers and listeners alike more of what they love, but haven’t heard before. The band leader and self-admitted purist, Joe Smith, deliberately cut out all of the excessive noise that detracts from the album’s primary objective: delivering quality music. Devoid of crowd funding, pretentious artwork, and politics, the music speaks for itself. With the debut of “High Fidelity”, the Pickles bring forth the band’s identity. They do not intend to merely mimic the greats, but aspire to create new tunes that celebrate the refined spirit of pre-war swing and entertainment. Written with historic acumen in composition, arrangement, tempo, rhythm, and sound quality - along with true vintage instruments and set-up - the band crafts an accurate and authentic sound that reintroduces American swing to a new generation.

As a group, the band honed their recording process and musicianship to provide a pristine sound that is decidedly unique. The album opens and closes with the band’s theme song “Slow Cookin'” in an homage to the big band era’s days of radio shows. “The Pen is Mightier” pays tribute to the small group Goodman sound featuring a melody played by Elijah Samuels on clarinet, Joseph Chudyk on vibes, and Al Scholl on guitar. Featuring Prescott Blackler on trombone and Adam Sammakia on bass, “The Baltiquerque Stomp” is a fast, driving number with a nod to early jazz. "Benny's Blues" is an ode to current New Orleans trumpet player, Ben Polcer, and “It's Alright for a Night” pays tribute to Cole Porter. The band takes inspiration from Billy Strayhorn and the Duke Ellington Orchestra for “The Gherkin Train”, which features Elijah Samuels on tenor sax. All tracks on the album were composed and arranged by horn players, Elijah Samuels, Prescott Blackler, and Joe Smith.

High-Fidelity

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Karen Marguth - Just You, Just Me (With Kevin Hill)

Size: 101,8 MB
Time: 36:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. You'd Be So Nice To Come Home To (3:56)
02. Just You, Just Me (2:46)
03. I'm Beginning To See The Light (2:33)
04. Love's Got Me In A Lazy Mood (3:52)
05. Blues My Naughty Sweetie Gives To Me (2:18)
06. I Got It Bad (And That Ain't Good) (4:13)
07. Imagination (2:27)
08. Harpo's Blues (4:48)
09. It's All Right With Me (3:15)
10. Baby, What's Your Alibi (2:40)
11. The Moon Is Made Of Gold (3:21)

So, there was this gig where a five-piece band was booked to play for three hours. No big deal, right? Only thing was, the bassist and vocalist were the only two to show up.
The show must go on, and all that, so they forged through and at the end looked at each other and said, "Damn, we should have recorded that."So into the studio they went to try and capture a bit of what had happened, and the result is this album.

Eleven tunes, all duos with just bass + vox, featuring bassist Kevin Hill and vocalist Karen Marguth.

Critic John McDonough, of DownBeat and NPR, writes this about the album: "It will fall to others to allot their own official praise to this, Karen's newest and perhaps most courageous work. I say that only because it takes a rather spunky singer to go into the world with only an acoustic bass man - the redoubtable Kevin Hill - at her side. But unlike Mary Tyler Moore's crusty old editor-boss, Ed Asner, I like spunk. Karen's has the benefits of voice, technique, and taste. They are the kind of refining influences that turn common spunk into high art."

The album covers an impressive range of material, from Cole Porter and Duke Ellington, to Phoebe Snow and Nellie Lutcher.

Take a listen, and discover why Jazz Magazine of France named Karen "one of the essential chanteuses of all time," and Cadence Magazine called her "indeed, a REAL jazz singer, with pinpoint intonation and a supple voice allowing her to phrase and scat with audacity."

Just You, Just Me

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Dick Hyman - House Of Pianos

Size: 135,4 MB
Time: 58:21
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Send In The Clowns ( 7:30)
02. Sweet Georgia Brown ( 5:58)
03. Yesterdays (10:13)
04. Blue Monk ( 4:08)
05. Ugly Beauty ( 4:13)
06. Beat The Clock Theme ( 1:56)
07. All The Things You Are (11:04)
08. Theme From The Purple Rose Of Cairo ( 2:09)
09. Misterioso ( 4:48)
10. Take The A Train ( 6:16)

It’s a mystery how Dick Hyman can have reached the age of 88 and still be “Dick who?”, even in some jazz circles. A pianist of genius, master of many jazz styles and a prolific composer (including the music for 11 Woody Allen films), he’s still busily playing solo recitals. This one was recorded live just a year ago, covering everything from Send in the Clowns to Blue Monk, with significant nods to Duke Ellington and Jerome Kern, and it’s as sparkling as ever. For ingenuity and wit, linked to outrageous virtuosity, Hyman is simply untouchable. His own two pieces are by far the shortest here, but at just over two minutes the Purple Rose of Cairo theme is a little gem.

House Of Pianos

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Ken Hymes - Inside Voice

Size: 70,0 MB
Time: 29:30
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals, Retro Swing
Art: Front

01. Ain't That Something Grand (2:22)
02. Be In Love (1:56)
03. If I Should Die (3:13)
04. Finer Things (2:48)
05. To Whom It May Concern (2:16)
06. Minor Detail (2:25)
07. Elegant Disease (2:59)
08. Dancing All Night (2:58)
09. Burning Bright (2:59)
10. Before I Go (2:38)
11. Next Time (2:52)

Inside Voice brings small combo swing into the 21st century. The lyrical forms, the topics, and the vocal approach reflect the evolution of songwriting and performance since the 50s, while making full use of the harmonic and instrumental richness of the late swing era. The title reflects the layers of meaning found within - the voice of the heart; the use of quiet dynamics, instead of always-in-your-face hyper compressed techniques; the voice itself, drawing the listener in to reflection on the things that matter in life.

The album is the result of collaboration between the singer-songwriter Ken Hymes, whose past releases have been of a more pop-rock character, and a number of talented and creative players. Producer Adam Goldman provided the brass and saxophones, while Leisl Patton (previously heard on the Grammy-contending album Dialogues and Entertainments) provided the clarinets and also bass. Multi-instrumentalist Deloy Moore laid down some lovely mandolin and dobro, while Justin Thomas added a lush vintage electric guitar sound to a couple of tracks.

Inside Voice makes the case that the harmonic complexity and lyrical craft of small combo swing music does not preclude the vocal directness and narrative complexity of more recent forms of pop music. On this project, Hymes and his collaborators have delivered something old and new... an inside voice that deserves to get out.

Inside Voice

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Karin & Mike Kelleher - Melange

Size: 117,3 MB
Time: 49:39
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Classical
Art: Front

01. Beautiful Pain (5:26)
02. Jeannot (3:14)
03. Ancka's Dolphin Dance (4:55)
04. Black Is The Color (4:29)
05. Chantez Les Brahms (4:18)
06. Giga (2:43)
07. Something (3:40)
08. Moonlight (Moon Dreams) (2:26)
09. Clair De Lune (5:55)
10. One Perfect Day (3:56)
11. Kyrieousity (5:03)
12. My Love Isn't (3:28)

Karin and Mike Kelleher’s new album Mélange not only blends jazz and classical compositions and styles, it also combines different eras, with unique instrumentation, including string quartet, acoustic bass, drums, guitar, oboe, and voice -- all acoustic instruments and performances.

Mélange celebrates classical and jazz composers’ influence on one another, highlighting musicians who perform -- and serving listeners who enjoy -- both genres.

Lead and Backup Vocals: Mike Kelleher
Violin: Karin Kelleher, Joanna Owen
Viola: Magaly Rojas Seay, Karin Kelleher
Cello: Todd Thiel, Peter Kibbe, Gita Ladd
Bass: Eliot Seppa
Drums and Percussion: Joe McCarthy
Oboe: Fatma Daglar
Guitar: Jim Roberts (Chantez les Brahms), Mike Kelleher (Black is the Color, My Love Isn’t)

Melange

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Jimmy Raney Trio - But Beautiful

Bitrate: MP3@320K/s
Time: 67:06
Size: 153.6 MB
Styles: Swing, Guitar jazz
Year: 1991
Art: Front

[5:03] 1. Long Ago (And Far Away)
[6:56] 2. Blues Cycle
[7:07] 3. But Beautiful
[5:20] 4. Indian Summer
[8:39] 5. Someone To Watch Over Me
[6:33] 6. I Get A Kick Out Of You
[8:00] 7. Elegy For Ray Parker
[7:22] 8. He Loves And She Loves
[6:46] 9. The Way You Look Tonight
[5:16] 10. Long Ago (And Far Away)

Jimmy Raney (Guitar); George Mraz (Bass); Lewis Nash (Drums). Recorded December 5, 1990 in New York City, New York by Max Bolleman.

This is Raney's last recording and he sounds so good. The lines just flow. While there are no "major riffs" here the music just moves along, with the swinging being very easy. The Way You Look Tonight is very good. Nothing really special, just another fine Raney record. ~James Bonk

But Beautiful

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Flora Purim - Flora's Song

Bitrate: MP3@320K/s
Time: 56:11
Size: 128.6 MB
Styles: Brazilian jazz
Year: 2005
Art: Front

[6:54] 1. Las Olas
[5:03] 2. Less Than Lovers
[4:50] 3. This Is Me
[9:15] 4. Flora's Song
[4:05] 5. É Preciso Perdoar
[6:22] 6. Silvia
[4:42] 7. Forbidden Love
[4:25] 8. Anjo De Mim
[5:54] 9. Lua Cheia
[4:36] 10. Anjo Do Amor

Throughout Flora's Song, the veteran Brazilian singer Flora Purim is heard in prime form. The ten compositions fit her style well; she swings in her own fashion and puts plenty of feeling into her vocals. In addition, there are many fine solos along the way, with the standouts including Harvey Wainapel's flute solo on "Flora's Song" and the steel drums of Andy Narrell on "E Precisa Perdoar" and "Forbidden Love." Whether any of the songs eventually become standards is open to question, but they are welcome additions to Flora Purim's repertoire. This is her most rewarding recording in several years, and she sounds quite happy throughout the excellent set. ~Scott Yanow

Flora's Song

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Derek Smith - High Energy

Bitrate: MP3@320K/s
Time: 67:50
Size: 155.3 MB
Styles: Swing, Piano jazz
Year: 2006
Art: Front

[3:36] 1. Like Someone In Love
[4:04] 2. How Deep Is The Ocean
[4:55] 3. Fools Rush In
[4:43] 4. Girl Talk
[4:09] 5. Doxy
[2:40] 6. Lazy Afternoon
[4:31] 7. On Green Dolphin Street
[6:15] 8. Alone Together
[2:51] 9. Spring Can Really Hang You Up The Most
[4:31] 10. Here's That Rainy Day
[4:11] 11. Let's Fall In Love
[3:48] 12. I Love You
[4:29] 13. Teach Me Tonight
[3:11] 14. Theme From 2nd Movement Concerto De Aranjuez
[3:37] 15. St. Thomas
[6:11] 16. What The World Needs Now Is Love

Although Derek Smith arrived in New York City in 1957 and has recorded and performed in a variety of settings in and out of jazz, the veteran pianist made relatively few record dates as a leader during his long career. That's one reason that this trio session for Arbors Jazz is so special. Joined by bassist Nicki Parrott and drummer Joe Ascione, Smith brings a freshness to such familiar standards as "Like Someone in Love," "On Green Dolphin Street," and "Alone Together." His jaunty take of Sonny Rollins' "Doxy" and a lively version of the tenor saxophonist's Caribbean-flavored "St. Thomas" (the latter of which is kicked off without the leader) contrast with Neal Hefti's soft-spoken ballad "Girl Talk." It's hard to debate with liner-note writer Dr. Chuck Berg that Smith's poignant solo interpretation of "Spring Can Really Hang You Up the Most." It is a safe bet that everyone in the studio was all smiles by the time the recording was completed, so this Derek Smith CD should be considered an essential purchase by jazz piano fans. ~Ken Dryden

High Energy

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Marty Paich - The Broadway Bit

Bitrate: MP3@320K/s

Time: 35:56

Size: 82.3 MB

Styles: West Coast jazz, Piano jazz

Year: 1959/2014

Art: Front

[3:32] 1. It's All Right With Me

[3:43] 2. I've Grown Accustomed To Her Face

[4:14] 3. I've Never Been In Love Before

[6:12] 4. I Love Paris

[3:49] 5. Too Close For Comfort

[4:05] 6. Younger Than Springtime/The Surrey With The Fringe On Top

[3:38] 7. If I Were A Bell

[3:28] 8. Lazy Afternoon

[3:10] 9. Just In Time

Marty Paich (p, arr), with Frank Beach, Stu Williamson (tp), George Roberts (tb), Bob Enevoldsen (ts, v-tb), Art Pepper (as), Bill Perkins (ts), Jimmy Giuffre (bs, cl), Vince DeRosa (Frh), Victor Feldman (vib), Scott LaFaro (b), Mel Lewis (d). Recorded in Hollywood, Los Angels, on May 13, 1959.

Recorded in 1959, the mixture of show tunes with jazz standards is logical; this is a very unified set. Paich's arrangements always swing, altoist Art Pepper is well showcased, and among the other key players are Jimmy Giuffre (clarinet and baritone), vibraphonist Victor Feldman, trumpeter Stu Williamson, and Marty Paich on piano. This is fun if slightly conservative music that fits the modern mainstream of the era." ~Scott Yanow

The Broadway Bit

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Carl Saunders - Out Of The Blue

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 68:34
Size: 157,4 MB
Art: Front

(7:19)  1. Stella By Starlight
(5:48)  2. We'll Be Together Again
(5:03)  3. Prudence
(7:33)  4. Personas Gratus
(5:54)  5. Sad Happiness
(7:19)  6. I Should Care
(7:40)  7. Love for Sale
(9:18)  8. Haunted Heart
(5:51)  9. Minute Waltz
(6:42) 10. This Is the Blues

This CD could have been titled "It's About Time!" It is hard to believe that trumpeter Carl Saunders, a fixture in Los Angeles since he moved from Las Vegas in 1984, had never before led his own record date. A superb bop-based improviser whether featured in big bands, with the Dave Pell Octet, or in smaller combos, Saunders has long been in demand for jazz sessions. For this release, he is showcased in a quartet with pianist Roger Kellaway, bassist Buster Williams, and drummer Santo Savino; two numbers add the tenor of Jerry Pinter and trombonist Andy Martin. Saunders gets the opportunity to stretch out on four standards, five originals (either by him or Scott Tibbs), and best of all an unusual and exciting version of Chopin's Minute Waltz. Varying romps with ballads and showing off not only his creative ideas but his warm tone, Carl Saunders' maiden effort as a leader is quite impressive and highly recommended. ~ Scott Yanow http://www.allmusic.com/album/out-of-the-blue-mw0000613860

Personnel : Carl Saunders (trumpet, flugelhorn); Jerry Pinter (tenor saxophone); Andy Martin (trombone); Roger Kellaway (piano); Buster Williams (bass); Santo Savino (drums).

Out Of The Blue

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Jacqui Naylor - The Color Five

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:58
Size: 128,8 MB
Art: Front

(3:42)  1. Blue Moon
(3:19)  2. Hot Legs
(3:38)  3. Easy Ride From Here
(3:26)  4. Summertime
(3:56)  5. Love Gets In The Way
(3:10)  6. Sit And Rest A While
(3:22)  7. I Still Haven't Found What I'm Looking For
(3:30)  8. History Of Love
(4:28)  9. You Don't Know What Love Is
(3:38) 10. Love For Sale
(3:11) 11. Angel of Mine
(3:20) 12. Lola
(5:08) 13. Losing My Religion
(3:12) 14. Drive On
(4:52) 15. Here's to Life

In many cases, the terms "acoustic-oriented" and "straightahead jazz" go hand in hand. Bop purists, in fact, have often gone out of their way to broadcast the fact that electric keyboards or an electric bass will never be heard on any of their recordings; they equate electric instruments with fusion and crossover jazz and acoustic instruments with bop, cool jazz, post-bop, Dixieland and swing. But when Jacqui Naylor calls her work "acoustic smashing," she isn't claiming to be a jazz purist; she has been blurring the lines between the vocal jazz/torch singing world and the folk-rock/adult alternative world, and she continues to blur those lines on The Color Five. This is an acoustic-friendly effort (although she does use some electric instruments when it's appropriate), but it is hardly a disc that adheres to an all-bop-all-the-time policy. Parts of this 2006 release is very jazz-oriented, especially "Here's to Life" (the gem that became Shirley Horn's theme song), "Blue Moon" and the warhorse "You Don't Know What Love Is." 

But more of a folk-rock/adult alternative approach prevails on "Sit and Rest a While" and "Easy Ride from Here," both of which Naylor co-wrote. On U2's "I Still Haven't Found What I'm Looking For," Naylor successfully references Miles Davis' "All Blues" and her funky interpretation of Cole Porter's "Love for Sale" is consistently mindful of Bill Withers' "Use Me." Stylistically, Naylor wasn't easy to pin down on previous albums, and she isn't any easier to pin down stylistically on The Color Five. This CD won't win over jazz purists; The Color Five is an album for Shirley Horn, Anita O'Day, Billie Holiday and Julie London fans, but only if they also happen to be Tracy Chapman, Shawn Colvin and Sarah McLachlan fans and anyone who fits that description will find The Color Five to be an excellent addition to Naylor's catalog. ~ Alex Henderson  http://www.allmusic.com/album/the-color-five-mw0000734763

Personnel: Jacqui Naylor (vocals); Art Khu (guitar, piano, Fender Rhodes piano, Clavinet, organ); Josh Jones (drums, percussion); Caitlin Cornwell, Zoe Ellis (background vocals).

The Color Five

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Chris Gillespie - Portraits Of Porter

Styles: Piano, Vocal, Big Band

Year: 2013

File: MP3@320K/s

Time: 49:36

Size: 114,4 MB

Art: Front

(3:13)  1. All of You (feat. Tim Ouimette)

(4:28)  2. Begin the Beguine

(3:11)  3. I Concentrate On You

(3:21)  4. Easy to Love

(4:13) 5. Every Time We Say Goodbye (feat. Bucky Pizzarelli)

(2:52)  6. I Love Paris

(3:27)  7. Kate the Great (feat. Tim Ouimette)

(3:07)  8. You'd Be so Nice to Come Home To

(3:24)  9. So in Love (Vocal)

(4:33) 10. What Is This Thing Called Love? (Piano Solo)

(3:21) 11. I've Got You Under My Skin (feat. Bucky Pizzarelli)

(4:41) 12. Love for Sale

(2:12) 13. So in Love (Piano Solo)

(3:28) 14. What Is This Thing Called Love? (Vocal)

The idea for recording a compilation of Cole Porter tunes had been with me for some time. It goes without saying that I love the craft of this prolific songwriter. While performing at the historic Bemelmans Bar, at the Carlyle Hotel, with its murals by Ludwig Bemelmans, the idea began to take on shape when Jacqueline Matisse, wife of Henry Matisse’s grandson, told me, “You play as if you were filling a canvas.” This, undoubtedly, was the catalyst that inspired me to title this CD Portraits of Porter.

I was further encouraged to embark on this project by another guest at the hotel who gave me a rare book, entitled Cole. This exquisite book, edited by Robert Kimball and with an essay about Porter by Brendan Gill, contains photos, anecdotes, and the lyrics of nearly 200 songs. A particular piece of memorabilia in the book caught my eye: a piece of paper on which Porter had written additional lyric for his song “All of You” from Silk Stockings. To my knowledge no one had ever used them, and so I decided to use the “abandoned” lyric and collaborated with Tim Ouimette in an arrangement for big band. Over the course of my career, I have become aware that my musical interpretations, while affected by many influences ranging from the condition of the piano to the attention of my audience to my mood while performing almost always emerge as imaginary paintings, so that the listener is also “able to see” the music.

Most Porter songs (with the exception of “Kate the Great”) have been recorded countless times and heard equally as often. My challenge was to allow myself to be free from constraints that might have influenced other artists’ presentations. My renditions are inspired by two dynamic aspects of a song: the lyric attached to the melody and the melody attached to the lyric.

For instance my collage of Porter’s question “What Is This Thing Called Love?” and using Johann Sebastian Bach’s “A Musical Offering” as the answer, inspired me to find the commonality of these two melodies simply because their titles complement each other. Porter’s “So In Love” with its overwhelmingly passionate lyric (… “so taunt me and hurt me, deceive me dessert me, I’m yours till I die…”) moved me to dip into the musical palettes of Frederick Chopin and Sergei Rachmaninov. This produces many different tonal shades, as a first time listener to the album proposed, “every track is so different even your voice sounds different.” With that I feel I have achieved my goal of adding my own colors to Porter’s work. So I invite you to use your imagination to color your own canvas inspired by this album.

Thank You: Bucky and Martin Pizzarelli, Patricia Gillespie, The Carlyle Hotel, Gregory Dinella, Aleda Wright, Jaqueline Matisse, Darwin Best, Jim Czak, Tim Ouimette, Marcus Parsley, Twyla McFarlane, Fr. Charles Murr, Every musician who participated in this project, All of the patrons at the Carlyle Hotel and My Audience around the world who inspired and helped me to make this CD. http://www.cdbaby.com/cd/chrisgillespie2

Portraits Of Porter

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Claude Tissendier - Swingologie

Styles: Clarinet Jazz
Year: 2015
File: MP3@320K/s
Time: 55:52
Size: 131,5 MB
Art: Front

(3:50)  1. 'Tain't What You Do
(4:55)  2. Begin The Beguine
(4:54)  3. I'm Confessin'
(4:20)  4. Summit Ridge Drive
(5:14)  5. Cherokee
(5:18)  6. Smoke Gets In Your Eyes
(5:37)  7. Drum Boogie
(4:08)  8. Special Delivery Stomp
(4:12)  9. Sophisticated Lady
(5:17) 10. Frenesi
(3:44) 11. You're Looking At Me
(4:18) 12. Dr. Livingstone, I Presume

Born in France. While studying classical clarinet and alto saxophone at Toulouse Conservatory, Tissendier began playing jazz. His interests followed a chronological path, starting with New Orleans music, passing through the mainstream into bop. In 1977 he joined the big band led by Claude Bolling and also worked with Gerard Badini and others. In the early 80s he taught at the Paris School of Jazz and in 1983 formed a sextet especially to recreate the music of John Kirby. In demand for club and festival dates, the band won many awards for both live performances and records. In 1987 Tissendier formed Saxomania, a seven-piece band featuring two alto saxophones, two tenors and three rhythm. 

Once again he won honours and gained invaluable experience and exposure accompanying visiting American jazzmen including Benny Carter, Buddy Tate, Jimmy Witherspoon and Spike Robinson, with some of whom he also recorded. Tissendier’s alto playing is striking for its intensity and driving swing and the high musical standards displayed by the Saxomania band ably demonstrate that his is a major talent. ~ Bio  http://www.allmusic.com/artist/claude-tissendier-quintet-mn0000391438/biography

Personnel:  Claude Tissendier (clarinet);  Gilles Rea (guitar);  Jerome Etcheberry (trumpet); Jean-Pierre Rebillard (bass);  Alain Chaudron (drums).

Swingologie

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