Massimo Farao Trio - I Left My Heart In San Francisco

Styles: Piano Jazz

Year: 2015

File: MP3@320K/s

Time: 66:39

Size: 153,0 MB

Art: Front

(7:08)  1. I Left My Heart In San Francisco

(4:54)  2. Chega De Saudade

(6:50)  3. Whisper Not

(5:22)  4. Love Is A Many-Splendored Thing

(5:56)  5. In A Sentimental Mood

(6:15)  6. All of You

(6:25)  7. What A Difference A Day Made

(6:27)  8. Ain't Misbehavin'

(5:34)  9. I'm a Fool to Want You

(6:11) 10. Georgia on My Mind

(5:33) 11. Very Thought Of You

Massimo Farao is a wonderful Italian pianist who has played and recorded with Red Holloway, Albert "Tootie" Heath, Tony Scott, Franco Ambrosetti, Nat Adderley, Jeff Tain Watts, Jack DeJohnette and Chris Potter, among others. Venus Records' producer Tetsuo Hara must have really fallen in love with Farao's music because in less than a year he has released no less than five of the Italian pianist's albums. The debut CD by his trio Luiza was followed by Bohemia After Dark which featured his bassist Aldo Zunino in a duo setting. Now we have three new albums (Autumn Leaves, My Funny Valentine and I Left My Heart In San Francisco) that were all recorded in a three-day session in February, 2014.

It seems quite a feat for a piano trio to produce three albums-worth music in three days, but the quality of the performance is consistently high. Farao's passionate style and romanticism are very attractive along with the rich harmonies he creates. He doesn't play too many notes and his arrangements are relatively straight forward, but his choice of notes is exquisite. With his unfailing sense of swing, all his music including ballads radiates an aura of happiness. Recommended to fans of piano trios! http://www.eastwindimport.com/product-info.asp?ProductID=13340

Personnel:  Massimo Farao (piano); Aldo Zunino (bass); Marco Tolotti (drums).

I Left My Heart In San Francisco

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Serge Chaloff - Boston Blow-Up!

Bitrate: MP3@320K/s

Time: 45:44

Size: 104.7 MB

Styles: Hard bop, Saxophone jazz

Year: 1955/2006

Art: Front

[2:36] 1. Bob The Robin

[4:41] 2. Yesterday's Gardenias

[3:12] 3. Sergical

[3:40] 4. What's New

[3:23] 5. Mar-Dros

[4:22] 6. Jr

[3:50] 7. Body And Soul

[3:21] 8. Kip

[1:40] 9. Diane's Melody

[3:16] 10. Unison

[3:45] 11. Boomareemaroja

[4:20] 12. Herbs

[3:31] 13. Herbs

Baritonist Serge Chaloff, best known as a member of Woody Herman's Second Herd, made a comeback in the mid-'50s after years of drug abuse. Having kicked the habit in his native Boston, he recorded The Fable of Mable in 1954 and this excellent session the following year. Chaloff is heard on a variety of obscure originals plus a couple of standards (including a near-classic "Body and Soul") in a sextet with trumpeter Herb Pomeroy and altoist Boots Mussulli. The ironic part is that, once Chaloff cleaned up his act, he contracted spinal paralysis and died in 1957. However, the baritonist is very much in prime form on this set, which was once only available on CD as part of Mosaic's Serge Chaloff limited-edition box but was reissued by Capitol Jazz in 2006 with three extra tracks. ~Scott Yanow

Boston Blow-Up

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Malo - S/T

Bitrate: MP3@320K/s

Time: 44:07

Size: 101.0 MB

Styles: Latin rock

Year: 1972/1995

Art: Front

[6:47] 1. Pana

[7:48] 2. Just Say Goodbye

[7:15] 3. Cafe

[6:27] 4. Nena

[6:32] 5. Suavecito

[9:16] 6. Peace

Malo was an American Latin-tinged rock and roll group. The San Francisco-based ensemble was led by Arcelio Garcia and Jorge Santana, the brother of Latin-rock guitarist, Carlos Santana. Four of Malo's original members (Santana, Leo, Garcia, Tellez, and Bean) had previously played in the band, The Malibus. The other three founding members (Abel Zarate, Roy Murray, and Richard Spremich) had played together in the group, Naked Lunch.

Malo's 1972 Top 20 hit single, "Suavecito," was written by timbales player Richard Bean, who initially wrote it as a poem for a girl in his high school algebra class. The song has been called "The Chicano National Anthem" and was arranged for Malo by Richard Bean, bassist Pablo Tellez, and Abel Zarate. Tellez and Zarate also received co-author credits on "Suavecito". Guitarist Abel Zarate gave Malo a distinctive two-guitar sound with intricate harmony and dual solos the norm. The band featured full horn and percussion sections in the style of contemporary bands Blood, Sweat & Tears and Chicago. Some of the best musicians in the Bay Area were featured in Malo, including Forrest Buchtel, Jr., Ron Smith, Paul C Saenz, Luis Gasca, and Tom Harrell in the trumpet section. Malo's music was also hugely popular in Central and South America, especially the songs "Chevere", "Nena", "Pana", "Cafe", and "Oye Mama".

Malo 

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Keith Andrew - Blue Funky Blue

Bitrate: MP3@320K/s
Time: 55:17
Size: 126.6 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:22] 1. Pookies Groove (Feat. Marcus Anderson & Nate Ginsberg)
[4:29] 2. Bayon (Feat. Marcus Anderson & Nate Ginsberg)
[5:46] 3. Blue Funky Blue (Feat. Nate Ginsberg)
[4:36] 4. Who Dat, Where You At (Feat. Nate Ginsberg)
[4:19] 5. Bubblefunk (Feat. Marcus Anderson)
[4:11] 6. Samasama
[4:27] 7. Sherpadance (Feat. Rob Tardik)
[4:05] 8. Fertile Crescent (Feat. Nate Ginsberg)
[3:20] 9. Little Sierra (Feat. Mingo Lewis)
[3:21] 10. Howl Mountain
[5:12] 11. Middle Of The Night (Feat. Mingo Lewis)
[2:39] 12. Makes Me Wonder
[2:47] 13. Who Dat, Said Who Dat (Feat. Nate Ginsberg)
[1:36] 14. New Way

Guitarist/keyboardist/vocalist Keith Andrew brings us a funky, saucy, and smooth offering that is diverse, melodic, and loaded with swagger. This release, Blue Funky Blue, which also features saxman Marcus Anderson and guitarist Rob Tardik on select tracks, boasts a delightful blend of contemporary jazz, fusion, blues, funk, and touches of World, a recipe not unfamiliar to Andrew.

On Blue Funky Blue, you’ll find yourself in the familiar settings of contemporary jazz (e.g., “Pookies Groove”), blues (title track), and funk (“Who Dat, Where You At?”) only to witness a slight detour into exotic areas of World (“Fertile Crescent,” “Sherpadance”) and great fusion (“Little Sierra,” “Makes Me Wonder,” “New Way”). You’ll also find tracks that just do their own thing, defying categorization or pigeonholing (e.g., “Howl Mountain” and the raspy “In the Middle of the Night,” which play with fusion, blues, and rock, as well). The outrageously swinging uptempo bluesy “Who Dat, Said Who Dat?” showcases Andrew’s ability to fire off lightning riffs and directs the spotlight toward the nimble fingers of keyboardist Nate Ginsberg, as well. This piece is jazz/blues on steroids, so hold on to your hats for the ride. Impressive showing of skill for sure.

To say this album is full of emotion and creativity is an understatement. This had to be a true experience for all who participated in the making of this project. I personally wouldn’t say that Blue Funky Blue is as comprehensively bluesy and funky as its title might suggest, but if you want creativity, diversity, and totally impressive musicianship, open this door. You’ll find that you’re in the right place. ~Randy Jackson

Blue Funky Blue

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Lisa Levy - When I Fall In Love

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 75:00
Size: 171,8 MB
Art: Front

(2:52)  1. My Funny Valentine
(4:45)  2. One Note Samba
(2:31)  3. Something Stupid
(2:47)  4. Sunny
(2:24)  5. Almost Like Being In Love
(3:58)  6. Over The Rainbow
(3:41)  7. The Frim Fram Sauce
(3:54)  8. Dance Me To The End Of Love
(1:49)  9. How High The Moon
(3:10) 10. When I Fall In Love
(2:38) 11. The Twist
(3:25) 12. Embraceable You
(2:52) 13. How Sweet It Is (To Be Loved By You)
(3:01) 14. I Get A Kick Out Of You
(4:32) 15. Nobody Does It Better
(3:10) 16. They Can't Take That Away From Me
(2:18) 17. Moon River
(2:38) 18. Come Rain Or Come Shine
(3:26) 19. Lullaby Of Birdland
(3:47) 20. Taking A Chance On Love
(2:19) 21. It's Delovely
(2:26) 22. Orange Colored Sky
(3:18) 23. Puttin' On The Ritz
(3:06) 24. I Remember You

Purveyor of live musical entertainment for heads of state, diplomats, dignitaries, VIPs and other discerning patrons, SHERATON CADWELL's (www.sheratoncadwell.com) world premier release of its PLATINUM SERIES is an elegant dance collection of selected love songs and greatest hits from the last 70 years. More..http://www.cdbaby.com/cd/lisalevy

"Lisa Levy is a joy to work with, watch, and listen to." ~ Roger Whitnall

"Your vocal stars are glamorous, chic & hip ... what a treat!" ~ Olivier Francone

"It takes a really good band to get the Mayor up to dance the twist!" ~ Hazel McCallion

"Many we knew were asking for a CD of EVERY SONG your band played ... this CD only has some of them. Can we have more, please?" ~ Jean Anderson

"Your track record of recorded work is utterly impressive ... wow!" ~ Julio Hernandez

"I loved your performance ... it was professional and entertaining!" ~ Joanne Wheatley

"You have both style and substance." ~ Jim Stanley

"Awesome! There was hardly any room left on the dance floor ... with thousands more watching your show from all around the amphitheatre!" ~ Tim Reidt

When I Fall In Love

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Kurt Rosenwinkel - Deep Song

Styles: Vocal And Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 73:41
Size: 168,9 MB
Art: Front

(8:25)  1. The Cloister
(8:20)  2. Brooklyn Sometimes
(7:31)  3. The Cross
(4:48)  4. If I Should Lose You
(6:12)  5. Synthetics
(8:25)  6. Use of Light
(9:12)  7. Cake
(3:51)  8. Deep Song
(7:27)  9. Gesture
(9:25) 10. The Next Step

As listeners it sometimes feels as though we live vicariously through the musical experiences of the artists we cherish excited by the thrill of discovery, the joy of constant growth, and the sheer emotional wallop that the best music holds. And so it's particularly satisfying to watch an artist emerge as more than merely a talented player and composer, but one of significance and consequence. Guitarist Kurt Rosenwinkel arrived on the scene in the early '90s recording with artists including Gary Burton and Paul Motian, and while those early days were spent in a kind of post-Metheny haze, by the middle of the decade a distinctive voice was emerging that was equal parts staggering arpeggio, flurry of cascading notes, and idiosyncratic lyricism. He was also evolving a uniquely ethereal tone processed, but in a thick and velvety manner that was completely his own. The best artists are those with voices so singular that they can be identified within the first couple of notes. By the time of Rosenwinkel's first release of all-original material, '00's Enemies of Energy , it was clear that this was an artist with the potential to become his generation's Frisell, Scofield, or Abercrombie. With the release of Deep Song , that potential is fully realized.

Following the more mainstream The Next Step and an '03 take on electronica, Heartcore , Deep Song feels like a consolidation and acknowledgement of everything Rosenwinkel has done to date. While the instrumentation is more straightforward the leader is joined by pianist Brad Mehldau, saxophonist Joshua Redman, and bassist Larry Grenadier; Ali Jackson alternates drum duties with Jeff Ballard this is far from a mainstream record, with an energy and modernity that is equally strong testament to Rosenwinkel the writer as it is Rosenwinkel the guitarist. By the time the group hit the studio immediately following a whirlwind tour of Europe last summer, they were deeply inside both the material and the collective gestalt. Most revealing are three tracks that Rosenwinkel revisits from his first two Verve releases. As good as those discs are, compare the version of "Synthetics" on Enemies of Energy with this new reading. What is immediately striking is a sense of authority and even stronger sense of adventure in Rosenwinkel's playing. 

Essentially an opening theme that leads into a time-based free improvisation, it also demonstrates the rich interplay taking place throughout the album. Elsewhere, the newer material finds Rosenwinkel continuing to hone his language. The joyous "The Cross" shows how far he has come as a writer of melodies both attractive and curious; and like Abercrombie, Rosenwinkel has a particular penchant for waltz time, finding new ways of subdividing the rhythm so that every track has its own complexion. With an all-star lineup performing material that successfully looks to the past, the future, and the now, Deep Song is Rosenwinkel's most fully-realized album to date, fulfilling the promise of his earlier recordings. With this recording Rosenwinkel makes the leap into that rarefied strata of artists who are truly moving the music forward. ~ John Kelman  http://www.allaboutjazz.com/deep-song-kurt-rosenwinkel-verve-music-group-review-by-john-kelman.php

Personnel: Kurt Rosenwinkel: guitar, vocals, piano (2); Brad Mehldau: piano (1-7, 9, 10); Joshua Redman: tenor saxophone (1, 3-10); Larry Grenadier: bass; Jeff Ballard: drums (3-5, 8); Ali Jackson: drums (1, 2, 6, 7, 10, 11).

Deep Song

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Johnny Varro Swing 7 - Afterglow

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 64:33
Size: 151,2 MB
Art: Front

(5:27)  1. It's a Wonderful World
(4:25)  2. Just Squeeze Me (But Don't Tease Me)
(2:58)  3. Ida! Sweet As Apple Cider
(4:24)  4. Truckin'
(4:00)  5. Afterglow
(4:06)  6. In The Still Of The Night
(6:02)  7. Moten Swing
(4:24)  8. Pom Pom
(5:37)  9. Change Partners
(2:51) 10. Humoresque
(3:21) 11. One For Todd
(3:50) 12. Cross Your Heart
(3:28) 13. Front And Center
(4:36) 14. The Chase
(4:56) 15. Brandy N' Beer

Pianist Johnny Varro came closer that anyone in the '90s to play in the flawless swing style of Teddy Wilson. Varro's occasional combos (the one on this CD is called the "Swing 7") are very much in the idiom of late '30s prebop music. Varro, tenor saxophonist Tommy Newsom, Ken Peplowski (on clarinet and his rarely heard alto), trombonist Dan Barrett, trumpeter Randy Sandke, bassist Frank Tate and drummer Joe Ascione perform a variety of '30s and '40s material plus Varro's "Afterglow" and "One for Todd." Although some of the arrangements are reminiscent of John Kirby's Sextet (particularly "Ida, Sweet as Apple Cider," "Humoresque" and Charlie Shavers' "Front and Center"), other groups hinted at are Duke Ellington's small combos, Count Basie and the Dave Pell Octet. The 15 performances include quite a few gems and this is a highly enjoyable example of latter-day small-group swing. ~ Scott Yanow  http://www.allmusic.com/album/afterglow-mw0000047267

Personnel: Johnny Varro (piano); Ken Peplowski (clarinet, alto saxophone); Tommy Newsom (tenor saxophone); Randy Sandke (trumpet); Dan Barrett (trombone); Joe Ascione (drums).

Afterglow

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Johnny Smith - Moonlight In Vermont

Styles: Guitar Jazz
Year: 1952
File: MP3@320K/s
Time: 44:06
Size: 101,8 MB
Art: Front

(2:26)  1. Where Or When
(2:42)  2. Tabu
(3:15)  3. Moonlight In Vermont
(2:33)  4. Jaguar
(3:05)  5. Stars Fell On Alabama
(3:26)  6. Tenderly
(3:10)  7. A Ghost Of A Chance
(2:42)  8. Vilia
(2:15)  9. Cavu
(2:47) 10. I'll Be Around
(2:52) 11. Yesterdays
(2:49) 12. Cherokee
(2:20) 13. Sometimes I'm Happy
(2:26) 14. Nice Work If You Can Get It
(2:30) 15. Jaguar [alternative version]
(2:40) 16. My Funny Valentine

This may be the greatest "forgotten" jazz album of its time. "Moonlight In Vermont" was originally released as the B side of a single in '52. Its lush, gorgeous, laid back groove caressed into life by Smith and Stan Getz made it an immediate radio hit and it was voted Jazz Record Of The Year by Downbeat. Over subsequent decades, "Moonlight In Vermont" and the eponymous album to which it gave birth (originally two 10" issues titled Jazz At NBC ) have gradually faded from view: Smith, a studio musician at NBC and regular performer at Birdland for much of the Fifties, more or less retired from performance in the early Sixties and his work has since been out of catalogue more often than it has been in. An uncannily symmetrical 52 years after its first release, Moonlight In Vermont must now be a strong contender for Jazz Reissue Of The Year. The sixteen tracks, recorded between March '52 and August '53, include the original eight with Getz and a further eight with Getz replaced by either Zoot Sims or Paul Quinchette. The music is meticulously arranged, the harmonic development rich and sophisticated, and the performances, particularly those of Smith, Getz and the "first choice" rhythm section of Gold, Safranski and Lamond, technically awesome; the up-tempo unison passages by Smith and Getz especially are jawdroppingly masterful.

Yet Smith never uses technique for its own sake. Throughout, his rapid fire single note runs (every bit as jetspeed as Tal Farlow's, but more sparingly used) and innovative chordal theme statements and solos (truly harmolodic inventions) are just there's no other word heavenly. Like the title track, much of the album is lush, gorgeous and laid back, but there is plenty of fire and energy here too. Still, gloriously and evocatively, in the original mono, the album has been lovingly remastered in 24-bit by Malcolm Addey. If you like Django, Charlie Christian and/or Wes Montgomery, do yourself an immense favour and check it out. Kinda Interesting Factoid : Somewhat unexpectedly, Johnny Smith is the composer of "Walk Don't Run," that massive, twanging, primeval rock 'n' roll hit for the Ventures in '60. The royalties allowed Smith to relocate from NYC to bucolic Colorado. His lifestyle gain perhaps, but our listening loss for sure. ~ Chris May  http://www.allaboutjazz.com/moonlight-in-vermont-johnny-smith-roulette-jazz-review-by-chris-may.php

Personnel: Johnny Smith (guitar); Stan Getz (tenor saxophone); Sanford Gold (piano); Don Lamond, Morey Feld (drums).

Moonlight In Vermont

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Richard "Groove" Holmes & Jimmy Witherspoon - Groovin' And Spoonin'

Bitrate: MP3@320K/s
Time: 32:36
Size: 74.6 MB
Styles: Jazz-blues, Urban blues
Year: 1973/2010
Art: Front

[2:09] 1. Take This Hammer, Part 1
[3:30] 2. In Blues
[2:13] 3. Loser's Blues
[2:27] 4. Please Send Me Someone To Love
[2:25] 5. Key To The Highway
[2:24] 6. Cry The Blues
[2:07] 7. Out Blues (For Big Joe)
[3:27] 8. Since I Fell For You
[2:20] 9. Everything
[3:56] 10. Goin' To Chicago Blues
[2:30] 11. Gee Baby Ain't I Good To You
[3:03] 12. Take This Hammer, Part 2

Jimmy Witherspoon (Vocals), Groove Holmes (Organ), Teddy Edwards (Tenor Saxophone), Frank Butler (Drums), Jimmy Bond (Bass), Herman Mitchell (Guitar), Paul Moer (Piano).

An expanded CD was released in 2010. This material was also released on an album titled Spoon And Groove in 1996 and an album titled Blues For Spoon And Groove in 2009.

Groovin' And Spoonin' 

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Raphaële Atlan - Give It Time

Bitrate: MP3@320K/s
Time: 49:09
Size: 112.5 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[4:45] 1. The Pursuit
[3:44] 2. Trente Ans
[3:42] 3. Summer Song
[3:33] 4. Give It Time
[5:01] 5. Night Passengers
[4:48] 6. Tous Ces Mois De Juliet
[5:03] 7. Rise
[3:29] 8. Rio
[3:19] 9. Eu Nao Existo Sem Voce
[4:48] 10. Real
[6:52] 11. What Remains

After her first album, Inner Stories, which received a critical acclaim in 2011, and a French tour in 2012, the singer and pianist Raphaële Atlan went back to the studios in 2014 to record Give It Time, essentially made of personal compositions that reveal a unique and creative kind of jazz, a universe full of energy, sweetness and poetry. In this second opus, her music is more than ever a reflection of herself : generous, multifaceted, enthusiastic, and deeply turned towards the world.

Born from a need to escape, several trips as many contemplative wanderings between three bright cities, NYC, Rio and Paris, this second album Give It Time shows the need for authenticity and new horizons that characterizes the young singer and pianist, gifted with an exceptional voice. In addition, the album is in itself a thought about the concept of time : the time one takes to fulfill oneself and make choices, the time one takes to discover, feel, leave ; time : the greatest vertigo of all, as well as our best ally in life…

Give It Time

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Michel Petrucciani Trio - Estate

Bitrate: MP3@320K/s
Time: 33:52
Size: 77.6 MB
Styles: Post bop, Piano jazz
Year: 2001/2014
Art: Front

[5:28] 1. Pasolini
[4:57] 2. Very Early
[5:48] 3. Estate
[3:47] 4. Maybe Yes
[6:21] 5. I Just Say Hello
[4:13] 6. Tone Poem
[3:16] 7. Samba Des Prophetes

Michel Petrucciani was not quite 20 years old at the time of this trio session with drummer Aldo Romano and bassist Furio Di Castri, but he was already displaying incredible potential as a pianist. Petrucciani's risk-taking interpretation of Bill Evans' turbulent "Very Early" is the highlight of this release, closely followed by his own bittersweet ballad, "I Just Say Hello." Romano's rapid fire "Samba Des Prophetes" is superior to his rather bland and predictable "Pasolini." Michel Petrucciani made a number of dates for Owl and The George Wein Collection around the same time period as these recordings which are superior to this CD, yet none of them have remained in print. Even though this can't be considered an essential release for Michel Petrucciani fans (especially with its brief playing time of under 35 minutes), it is an enjoyable session. ~Ken Dryden

Estate

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Joel Weiskopf - Devoted To You

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:01
Size: 156,1 MB
Art: Front

(10:58)  1. Beauty For Ashes
( 6:26)  2. Devoted to You
( 9:30)  3. Giving Thanks
( 6:21)  4. November
( 6:41)  5. St. Denio
( 8:10)  6. The Strongest Love
( 7:27)  7. You Must Believe In Spring
( 4:41)  8. Wondrous Love
( 5:45)  9. A Mighty Fortress
( 1:58) 10. One Bright Morning

Brazilian influenced rhythms, loose-limbed swing and secondline groove are all part of Joel Weiskopf's fourth Criss Cross session as a leader. His incisive piano improvisations are enhanced by two of the label's star sidemen, bassist John Patitucci and drummer Eric Harland, each of whom also take advantage of a plentiful amount of solo space. The program includes Weiskopf's melodically opulent compositions, the standard You Must Believe in Spring, the spiritual Wondrous Love, and a rousing rendition of Martin Luther's hymn A Mighty Fortress. ~ Editorial Reviews  http://www.amazon.com/Devoted-You-Joel-Weiskopf-Trio/dp/B000NVLABY

Personnel: Joel Weiskopf (piano); John Patitucci (bass guitar); Eric Harland (drums).

Devoted To You

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Lisa Bassenge Trio - A Sigh, A Song

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 61:00
Size: 140,2 MB
Art: Front

( 3:53)  1. Can't Get You Out Of My Head
( 4:34)  2. Adeus
( 2:34)  3. Blue Suede Shoes
( 2:50)  4. It's Now Or Never
( 3:05)  5. Everybody Loves Somebody Sometimes
( 3:26)  6. Shake The Disease
( 3:28)  7. My Guy
( 5:33)  8. Blue
( 3:33)  9. A Sigh, A Song
( 3:23) 10. My Heart Belongs To Daddy
( 1:38) 11. Are You Lonesome Tonight (Intro)
( 1:54) 12. Are You Lonesome Tonight
( 3:43) 13. Ol' 55
( 4:35) 14. Golden Earrings
( 1:09) 15. Interlude
(11:34) 16. Junimond

After his furious debut album Going Home Berlin Piano Trio puts the singer Lisa Bassenge here his second album before. The title A Sigh, A song could be in completely programmatically meant: between a sigh and a song need not necessarily lie worlds. At least that leads the ninth track, the only original composition of the album, before ears.It shows the band, as it dominates the reduction to the essentials and gets by with very little means to let a song go under the skin atmospherically. In a nutshell, two piano chords, a sensitively-sufficient mysterious bass. They conjure up that mood that can make just by a love sigh air. Of course there is not least the voice of the singer. For some ballads you may still need the large, even lived suffering; but not the passion. Lisa Bassenges singing is clear, supple and experiment. Already on their debut album, they had transformed Madonna's "Like A Virgin" in a delicate, wonderfully complex ballad. Now she has made with her companions except jazz standards more pop Title to deconstruct them. The trio is far from easy to covers songs; Jazz standards, it lights up from scratch, pop songs translated it into the jazz idiom. This produces creations that are sometimes even surpass the original. Rio Reiser "Junimond" Tom Waits '"Ol' 55" or "Shake The Disease" by Depeche Mode are imaginative, sensitive adaptations, but also discover the breaking points. For example, the Lisa Bassenge Trio dispensed with "Shake The Disease" in the well-kept British boredom that blew the arrangements of '80s cult band. The song does well, the trio well. It maintains its own attitude to life, and that has nothing to do with cerebral jazz. ~ Roman Rhode 

Tuesday she enthused Harald Schmidt: Lisa Bassenges Pop-jazz mix is ??ripe for a breakthrough... It is fitting that the first major television appearance of Bassenge Trio last Tuesday went at late night mockers of Sat1 across the stage. Because the transgressing character of music of Lisa Bassenge, pianist Andreas Schmidt and bassist Paul Kleber does not belong in the category of ghetto culture magazines. The Berlin reconcile with songs that everyone knows, interpret with improvisation. As the ancestors of the genre you are looking for the Jazz to Pop. The Bassenge Trio breathes classics by Elvis Presley, Tom Waits or Depeche Mode new life - and open up new world of hearing: so fragile and intimate as in the version of Bassenge Trio Madonna's hit "Like A Virgin" has never sounded ... ~ Handelsblatt, 06.12.2002  Translate by google  http://www.amazon.de/Sigh-Song-Lisa-Bassenge-Trio/dp/B00006ALD7

A Sigh, A Song

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Greg Fishman, Jeremy Monteiro - Only Trust Your Heart

Styles: Piano And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 42:52
Size: 98,4 MB
Art: Front

(5:34)  1. Only Trust Your Heart
(5:41)  2. I Can't Get Started
(4:43)  3. El Cahon
(5:59)  4. Isfahan
(4:03)  5. My Funny Valentine
(4:50)  6. These Foolish Things (Remind Me Of You)
(6:20)  7. My Romance
(5:39)  8. Nancy With The Laughing Face

This set of duets by tenor saxophonist Greg Fishman and pianist Jeremy Monteiro is full of strong melodies, lyrical and thoughtful improvising, and warm feelings. Fishman's tone is a little reminiscent of Stan Getz and the Four Brothers without sounding derivative while the supportive Monteiro features attractive chord voicings and a fine two-handed style. Together, Fishman and Monteiro bring out the beauty in eight selections that include ballads and medium-tempo romps, all from the mainstream jazz tradition. This delightful program is well worth checking out. ~ Scott Yanow  http://www.allmusic.com/album/only-trust-your-heart-mw0001445890

Personnel:  Greg Fishman - Tenor Saxophone;  Jeremy Monteiro - Piano

Only Trust Your Heart

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John Davis & The Monster Orchestra - Night & Day

Styles: Jazz, Bop
Year: 1976
File: MP3@320K/s
Time: 34:10
Size: 78,7 MB
Art: Front

(5:10)  1. Tell Me How You Like It
(2:55)  2. I Get A Kick
(5:04)  3. Night & Day
(4:16)  4. I've Got You Under My Skin
(5:02)  5. I Can't Stop
(5:20)  6. In The Still Of The Night
(3:41)  7. You Do Something to Me
(2:40)  8. It's Delovely

The ensemble released its first album, Night and Day, in 1976. The 12" single, "I Can't Stop", was one of its original tunes. The album enjoyed minor success and its second release was 1977's Up Jumped The Devil. By 1978, the band had released its third album, Ain't That Enough For You. It was their most commercially successful release, featuring the self-titled hit "Ain't That Enough For You." The album gave the outfit its only UK hit, when the record reached #70 in the UK Singles Chart. 1979's The Monster Orchestra Strikes Again! would be the band's final album release. 

The record spawned two 12" singles: "Love Magic" would rival the group's previous success, whilst "Bourgie Bourgie" was a cover version of the Ashford & Simpson penned song. John Davis and the Monster Orchestra released a last gramophone record in 1981. Available only on a 12" single, "Hangin' Out" charted on Billboard Hot Dance Club Play chart in August 1981 and topped at number 46. 

In 1990, a remix of "(Feel The) Love Magic" was released and it became a club hit again. In 1992, Davis wrote, produced and performed the "Theme From Beverly Hills, 90210.  https://en.wikipedia.org/wiki/John_Davis_and_the_Monster_Orchestra

Night & Day

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April Hall - Hall Sings Hines

Size: 101,2 MB
Time: 42:24
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals
Art: Front

01. I Go For You (4:20)
02. I-95 (3:03)
03. Just Us (4:26)
04. 4 Blues (5:41)
05. Encinitas (5:50)
06. To The Street (2:37)
07. A Stone (5:34)
08. We Could Have The Same (5:24)
09. Traces (5:24)

A teaming of talented ladies brings us Hall Sings Hines. The combination of vocalist April Hall and pianist Pamela Hines, who wrote all the tunes, seems a perfect fit, like Tony Bennett's work with the Ralph Sharon Trio for the past several years.

If the music that Hall and Hines make represents an extension of their personalities, they both must be people possessed of an uplifting panache, a dash of style. "I Go for You" opens the set with a swaying tempo that Hall navigates with a fluid grace, a rich tone, and an appealing assurance, before Pamela Hines takes a solo that seems informed by Bill Evans, but with a more outward-looking attitude, vivid and bright. Hines' songwriting has—here and elsewhere in the set—a classic feeling, Cole Porter-esque in terms of melody.

"I-95" ups the tempo on a Latin groove, with bassist John Lockwood and drummer Reed Dieffenbach shining, in accompaniment and some solo space. In lesser hands bass solos have a way of dragging a tune down, but Lockwood's work lifts it, in front of Deiffenbach's bouncy drums. "Just Us" is a good old-fashioned love song that makes me think of those great late-'40s/early-50's musicals. The tune features Hall in achingly beautiful voice in front of bass and drums—nice brush work by Dieffenbach—with Hines sparkling around the vocal.

"4 Blues" changes the pace, kicking out the jams, in a belt-it-out affair for Hall, with the band cooking, with a quirky, slightly angular solo from Hines. "Encinitas" (named for one of California's prettiest cities, nestled on the coast twenty miles north of San Diego) drifts into a relaxed mode, with Hines' solo sounding like sunlight glinting off the faces of blue waves.

An impressive vocal effort covering some fine original Pamela Hines tunes. ~Dan McClenaghan

Personnel: April Hall: vocals; John Lockwood: bass; Redd Dieffenbach: drums; Pamela Hines: piano.

Hall Sings Hines

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Dom Minasi - Quick Response

Size: 136,4 MB
Time: 58:50
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Straight-Ahead/Mainstream, Hammond Organ
Art: Front

01. What Is This Thing Called Love (5:25)
02. Feels Like Rain In China (9:54)
03. For My Father (9:05)
04. Quick Response (4:53)
05. I Who Have Nothing (5:46)
06. Into The Night (6:19)
07. Dizzy Lizzie (5:44)
08. When Your Dreams Come Rue (7:40)
09. Softly As In A Morning Sunrise (3:59)

Quick Response is Dom Minasi's latest effort since last year's Time Will Tell, also on CDM Records. Supported by a group of musicians who are no strangers to playing both classic hard bop and avant stuff, Minasi is delivering an album that in a way dwells both in classic and avant-garde territories.

The choice of material encompasses standards such as Cole Porter's "What is This Thing Called Love" and "Softly As in a Morning Sunrise." What is interesting is that these standards are not approached in a classic way like they have been a thousand times before; the musicians take the material as a basis for reinvention and improvisation. From the opening track until the last, one can hear different worlds colliding into one. "Dizzy Lizzy" is actually a tribute to Duke Ellington where Minasi takes the chords of "Take The 'A' Train" and pushes the piece into different territories. (In 2001, Minasi did a tribute album, Takin' The Duke Out, featuring fresh interpretations of classic Ellington compositions, where he paid homage to the great composer.)

"Feels Like Rain in China" features a wonderful sax solo by Mark Whitecage, and Kyle Koehler's organ provides a nice layer of keyboard sounds for the musicians to play atop. There are shades of Wes Montgomery's sound all around, and the band pays tribute to this great guitarist by employing aspects of his signature style on a tune that was never recorded by him: "I Who Have Nothing." The title track features a repetitive rhytmic opening section and the band's playing indicates a variety of influences.

Minasi's arrangements are inventive and challenging, but even though these are excellent performances, the band tends to overplay some times. But then again, this ain't no beginner's work, and it reveals that Dom Minasi and his band have a lot to say (and play). ~Nenad Georgievski

Personnel: Dom Minasi -- guitar; Mark Whitecage -- alto sax; Kyle Koehler -- organ; John Bollinger -- drums

Quick Response

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Nicole Henry & James Bryan - Summer Sessions EP

Size: 74,1 MB
Time: 31:44
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front & Back

01. Never Give Your Love Away (4:04)
02. Let It Be Me (4:35)
03. Joy (2:48)
04. Magic (3:34)
05. Baby Can I Hold You (3:41)
06. My Love Is Your Love (3:24)
07. How Insensitive (5:39)
08. No One Is To Blame (3:56)

Growing up in Pennsylvania, Nicole Henry’s mom played classical piano while she sat in her room, singing along to Aretha Franklin and Sister Sledge. After moving to South Florida to attend the University of Miami, Henry decided to make Miami her home. “I was fortunate to work with a lot of amazing, world-class musicians down here," she says. "There are a lot of creative people who allowed me to find my own voice.”

She quit her office job in 2001 and has been working full-time as a singer ever since, striving to bring her perspective to classics. In 2002, this paper named her Miami's Best Local Solo Musician in our annual Best Of Issue, and in 2013, Henry won a Soul Train Award for Best Traditional Jazz Performance.

“A lot of my repertoire is from the jazz standards, but I sing classic soul and folk songs. I’ll sing anything, but you want to take the time to make covers your own; otherwise, you sound like a hotel lobby band. And I’ve had to do that. Even then, you don’t want to sound like a jukebox.”

Her current band — which includes Pete Wallace on piano, Eric England on upright bass, Dave Chiperton on drums, and Aaron Lebos on guitar — backs her on songs like Ramsey Lewis’ “I Wish I Knew How It Would Feel to Be Free." With a repertoire so diverse and old school, was there any song that stumped her — that she couldn’t figure out how to make hers? “There were two Stevie Wonder songs I tried that I couldn’t do anything with," she says. "Musically and logically, he’s so perfect that you can’t change them.”

Fortunately for her fans, Henry was able to find eight songs she could make hers, and on July 24, she’s releasing Summer Session, an eight-song acoustic EP with both covers and originals, accompanied by James Bryan — who won a Latin Grammy for his work with Nelly Furtado — on acoustic guitar. The two met in 2003, and a song they played together in that first meeting, “No One Is to Blame,” made it as the final track on this record.

Summer Sessions EP

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Jordan Bennett - Original

Size: 102,5 MB
Time: 43:59
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. When Tomorrow Comes (2:35)
02. When I Was Me (3:07)
03. There's Something About You (3:10)
04. The Power Of Music (3:14)
05. A Time To Remember (3:12)
06. Growing Up (4:28)
07. Grateful (4:13)
08. How Long (3:51)
09. Rose Colored Glasses (3:08)
10. She's Got Me (3:20)
11. On My Way Home (2:13)
12. Nights In White Satin (4:11)
13. Hallelujah (3:10)

Jordan Bennett can thrill an audience no matter if he is performing in a small cabaret setting or in a two-thousand seat concert hall. He enjoys performing as a solo artist as much as he enjoys sharing the stage with other talented entertainers.

The Los Angeles Times said, “Jordan Bennett offers a powerful, persuasively melting performance. The effect is often quite mesmerizing.” NBC entertainment proclaimed, “Jordan Bennett is extraordinary.”

Jordan has performed his original songs on television, onstage and in concert halls around the world.

In the theater, Jordan starred in Les Miserables, as the heroic Jean Valjean. In a review of that show The Los Angeles Times said of him: “Bennett has a big voice and a large store of exquisite tenderness and enviable ability to sustain it in the high notes." He then went on to Broadway to play another larger than life character, Cyrano De Bergerac in Cyrano: The Musical. Mr. Bennett also appeared on Broadway in Shenandoah. He has performed in many other shows.

On television, he has had recurring roles in several well known shows.. His film credits include the lead in the B-classic Ninja III: The Domination (“…a magnificent film after a minimum of six beers.”) and a performance in Carl Reiner’s Bert Rigby, You’re a Fool.

Jordan graduated summa cum laude and phi beta kappa with a double major in political science and music. He studied acting with Milton Katselis and John Cullum.

Jordan is a member of The Dramatists Guild and A.S.C.A.P. and has written songs and scripts for the theater, film and television.

Original

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Grant Stewart - Trio

Size: 128,7 MB
Time: 54:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. A Time To Smile (6:51)
02. Everything I Love (4:53)
03. I'll Never Be The Same (6:58)
04. Everything's Coming Up Roses (5:00)
05. The Thrill Is Gone (7:04)
06. This Is New (4:35)
07. I Surrender Dear (7:26)
08. Uranus (6:22)
09. Is That All There Is (5:42)

TRIO is a varied and balanced program of material. Grant, like so many of the better musicians of his generation, has a knack for resurrecting jazz compositions from the ‘50s and ‘60s that are overlooked gems. Freddie Redd’s typically sunny “A Time To Smile” from “The Connection” cover that territory here. “Everything I Love” is medium-up but joyous and swinging with a delightful danceable groove that Phil lays down on the ride cymbal. Jerry Leiber and Mike Stoller’s “Is That All There Is” is their 1969 ode to ennui in a bid to be seen as more than R & B songwriters. It was recorded in “grande dame” style by Peggy Lee and became a big hit. Here the trio mercifully leaves the drama on the theatre stage and fashions the great melody in an easy, cool swing much the way Sonny Rollins made cowboy songs sound hip on “Way Out West.” “Everything’s Coming Up Roses,” the flag waver from the musical “Gypsy” that brought out everything that’s bad about Ethel Merman’s singing. Grant explains, “I always picture the hospital scene in the movie “Airplane” where she comes out of nowhere and sings that song. Then I heard Zaid Nasser, the alto player who is Jamil Nasser’s son, play a wild version of it live and heard it in a whole different way.” Grant deconstructs the theme in true Rollins fashion and the trio cooks. Side 2 begins with “I’ll Never Be The Same,” and this is all about heartbreak, emptiness and regret and Grant’s delivery is letter perfect. Thanks to its melody and changes, Kurt Weill’s “This Is New” has been favored over the years by the likes of Kenny Drew, Chick Corea and Al Cohn among others. On this version, Grant turns out a fluid, brilliant solo that sails over the bass and drums with grace and panache.

Trio

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