Tina May - Divas

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 60:18
Size: 138,3 MB
Art: Front

(3:24)  1. Why Don't You Do Right
(4:36)  2. There's a Lull in My Life
(5:55)  3. Forgetful
(3:59)  4. Can't Get out of This Mood
(5:55)  5. When the World Was Young
(4:54)  6. Where You At?
(6:22)  7. Surabaya Johnny
(5:39)  8. Baltimore Oriole
(3:31)  9. Let's Get Lost
(5:50) 10. I Will Wait for You
(5:36) 11. You Don't Know What Love Is
(4:31) 12. All Through the Night

Tina May is perhaps the least likely jazz singer to be calling an album Divas. No diva herself, she's one of the band, a musician as much as a singer, and while she likes to inhabit a lyric and really get inside a song, May does so with just the right weight of performance, in both French and English here. These 12 songs are mostly associated with singers of another generation, but May brings her own personality and her unfailingly attractive vocal timbre to all of them, lending You Don't Know What Love Is a lightness of touch, an insouciance almost, that takes it some way from Billie Holiday's iconic version, and singing Let's Get Lost with all the carefree romance that Chet Baker only wistfully hinted at in his version of the song, half a century or so ago. 

May is also intimate and tender on Forgetful and clearly having fun with drummer-turned-assured-crooner Winston Clifford on their mischievous duet, Where You At? A cracking, crisply swinging band, superbly judged arrangements and fine soloing ensure all-round high quality. ~ Rob Adams http://www.heraldscotland.com/arts_ents/13128970.Tina_May__Divas__Hep_/

Personnel:  Tina May – vocals;  Winston Clifford – vocals;  John Pearce – piano;  Dave Cliff – guitar;  Freddie Gavita – trumpet;  Adrian Fry – trombone;  Frank Griffith - tenor sax, clarinet; Bob Martin - alto saxophone;  Andy Cleyndert - double bass;  Bobby Worth - drums

Divas

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Dick Hyman - From the Age of Swing

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 66:12
Size: 152,0 MB
Art: Front

(5:02)  1. From the Age of Swing
(4:24)  2. You're Driving Me Crazy/Moten Swing
(6:07)  3. Topsy
(3:24)  4. Moonglow
(4:51)  5. Them There Eyes
(6:05)  6. Dooji Wooji
(5:20)  7. Soft Winds
(4:48)  8. What Is There to Say?
(4:42)  9. 'Deed I Do
(4:31) 10. Rose Room
(3:23) 11. I Know What You Do
(5:34) 12. Mean to Me
(3:12) 13. I'm Getting Sentimental over You
(4:43) 14. From the Age of Swing (alternate take)

As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging set. ~ Scott Yanow  http://www.allmusic.com/album/from-the-age-of-swing-mw0000125036

Personnel: Dick Hyman (piano); Phil Bodner (alto saxophone, clarinet); Frank Wess (alto saxophone); Joe Temperley (baritone saxophone); Joe Wilder (trumpet, flugelhorn); Urbie Green (trombone); Bucky Pizzarelli (guitar); Milt Hinton (acoustic bass); Butch Miles (drums).

From the Age of Swing

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Russell Malone - Sweet Georgia Peach

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 61:14
Size: 140,6 MB
Art: Front

(5:35)  1. Mugshot
(6:20)  2. To Benny Golson
(6:17) 3. Strange Little Smile / With You I'm Born Again
(5:52)  4. Sweet Georgia Peach
(5:33)  5. Rise
(6:58)  6. Mean What You Say
(5:56)  7. Song For Darius
(5:31)  8. Bright Mississippi
(5:13)  9. Someone's Rocking My Dreamboat
(5:16) 10. For Toddlers Only
(2:38) 11. Swing Low, Sweet Chariot

Sweet Georgia Peach is one of 1998's most compelling mainstream jazz releases. Guitarist Russell Malone (b. 1963), known better for his sideman roles with Jimmy Smith, Harry Connick, Brandford Marsalis, Diana Krall and Mose Allison, has produced quite a fine jazz document here, in only his third effort as a leader. He's a musician of many gifts, who never seems consciously influenced by any particular guitarist or even a direct musical style. Indirectly, he can suggest the moodswings of Larry Coryell. But such a declaration subjugates the quality of Malone's individual conceptions. Here, Malone is captured in an all-star quartet featuring pianist Kenny Barron, bassist Ron Carter and drummer Lewis Nash. For a studio ensemble, this one is a tight unit that works quite well together. The bulk of the music consists of Malone's originals. He's a fine, notable composer with a gift for burying the implicit technique of his ideas under the genuine appeal of his melodies.

Check out the intriguing mid-tempo "To Benny Golson," the Larry Coryell like "Mugshot" (with an exceptionally spirited solo from Barron) and the funky "Freedom Jazz Dance" groove of the intricately-paced title track (with another great feature for Barron). The waltz he wrote for his son, "Song for Darius," offers another memorable melody and yet another expert showcase for Barron's piano artistry. Malone's playing stands out especially on the covers he performs, most especially on the evocative "Someone's Rocking My Dreamboat" and the wonderful piano-guitar duo of Monk's "Bright Mississippi." What's most surprising, though, is how Malone rethinks two late 1970s hits. Hear how he stretches Herb Alpert's disco trash, "Rise," into a compelling mid-tempo ballad. Then listen to his sincere reconsideration of the Billy Preston/Syreeta hit "With You I'm Born Again" (to my knowledge, the only other jazz cover of this was Eric Gale's in 1980). "Born Again" is preceded by Malone's "Strange Little Smile" a terrific lullaby, like his solo rendition of "Swing Low, Sweet Chariot" that suggests Malone has developed quite a niche specialty. Sweet Georgia Peach offers truly enjoyable traditional jazz and provides provocative evidence of Russell Malone's emerging talents. Recommended. ~ Douglas Payne http://www.allaboutjazz.com/sweet-georgia-peach-russell-malone-impulse-review-by-douglas-payne.php

Players: Russell Malone: guitar; Ron Carter: bass; Kenny Barron: piano; Lewis Nash: drums; Steve Kroon: percussion on "Mugshot" and "Rise."

Sweet Georgia Peach

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Randy Weston - Modern Art Of Jazz

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 40:06
Size: 92,4 MB
Art: Front

(3:01)  1. In a Little Spanish Town
(4:17)  2. J.K. Blues
(5:01)  3. Well You Need't
(4:49)  4. How High the Moon
(3:01)  5. Loose Wig
(5:09)  6. Stormy Weather
(3:42)  7. Run Joe
(5:19)  8. Don't Blame Me
(5:43)  9. A Theme for Teddy

Placing Randy Weston into narrow, bop-derived categories only tells part of the story of this restless musician. Starting with the gospel of bop according to Thelonious Monk, Weston has gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marking by a stabbing quality reminiscent of, but not totally indebted to, Monk.

Growing up in Brooklyn, Weston was surrounded by a rich musical community: he knew Max Roach, Cecil Payne, and Duke Jordan; Eddie Heywood lived across the street; Wynton Kelly was a cousin. Most influential of all was Monk, who tutored Weston upon visits to his apartment. Weston began working professionally in R&B bands in the late '40s before playing in the bebop outfits of Payne and Kenny Dorham. After signing with Riverside in 1954, Weston led his own trios and quartets and attained a prominent reputation as a composer, contributing jazz standards like "Hi-Fly" and "Little Niles" to the repertoire. He also met arranger Melba Liston, who has collaborated with Weston off and on into the '90s. Weston's interest in his roots was stimulated by extended stays in Africa; he visited Nigeria in 1961 and 1963, lived in Morocco from 1968 to 1973 following a tour, and has remained fascinated with the music and spiritual values of the continent ever since. In the '70s, Weston made recordings for Arista-Freedom, Polydor, and CTI while maintaining a peripatetic touring existence mostly in Europe returning to Morocco in the mid-'80s.

However, starting in the late '80s, after a long recording drought, Weston's visibility in the U.S. skyrocketed with an extraordinarily productive period in the studios for Antilles and Verve. Among his highly eclectic recording projects were a trilogy of "Portrait" albums depicting Ellington, Monk, and himself, an ambitious two-CD work rooted in African music called The Spirits of Our Ancestors, a blues album, and a collaboration with the Gnawa Musicians of Morocco. Weston's fascination with the music of Africa continued on such works as 2003's Spirit! The Power of Music, 2004's Nuit Africaine and 2006's Zep Tepi, The Randy Weston African Rhythms Trio. In 2010, Weston released the live album The Storyteller which featured the then 84-year-old pianist in concert at Dizzy's Club Coca-Cola, as part of Jazz at the Lincoln Center. ~ Richard S. Ginell, Rovi  https://itunes.apple.com/us/artist/randy-weston/id137815#fullText

Modern Art Of Jazz

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Norm Drubner - I'm Old Fashioned

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 27:32
Size: 63,8 MB
Art: Front

(3:34)  1. There Will Never Be Another You
(2:22)  2. Time After Time
(2:05)  3. You're Getting to Be a Habit with Me
(2:51)  4. I'm Old Fashioned
(2:08)  5. Imagination
(3:07)  6. But Not for Me
(2:58)  7. My Ideal
(3:26)  8. That Old Feeling
(2:51)  9. Look For The Silver Lining
(2:06) 10. That's All

Norm Drubner was born in Connecticut and has practiced law along with operating real estate related businesses there for many years. Recently, he has turned his attention to his lifelong passion for music  especially the standards from The Great American Songbook. The results have been a series of vocal CDs performed with a smooth, light jazz touch with an emphasis on songs with great lyrics that make the melodies special. Norm is a lawyer-turned-singer who now inspires all of us would-be singers to follow our dreams while there is still time. Enjoy Norm’s interview (at right) with radio show host Don Wolff who loves jazz. http://www.normdrubner.com/

I'm Old Fashioned

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The Kenny Drew Trio - Pal Joey

Bitrate: MP3@320K/s
Time: 38:03
Size: 87.1 MB
Styles: Hard bop, Piano jazz
Year: 1957/2011
Art: Front

[ 4:09] 1. Bewitched, Bothered And Bewildered
[ 5:52] 2. Do It The Hard Way
[ 4:00] 3. I Didn't Know What Time It Was
[ 4:18] 4. Happy Hunting Horn
[ 4:43] 5. I Could Write A Book
[ 5:08] 6. What Is A Man
[ 4:09] 7. My Funny Valentine
[ 5:41] 8. The Lady Is A Tramp

It seems strange that (with the exception of a 1960 session for Blue Note) this would be pianist Kenny Drew's last session as a leader until 1973. With bassist Wilbur Ware and drummer Philly Joe Jones, Drew interprets eight Rodgers and Hart tunes, five written for the play Pal Joey and three of their earlier hits that were included in the film version. Drew contributes swing and subtle bop-based improvising to these superior melodies (which are highlighted by "Bewitched, Bothered and Bewildered," "I Could Write a Book," and "The Lady Is a Tramp"), and the results are quite memorable. ~Scott Yanow

Pal Joey

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Hirofumi Asaba - Easy Like

Bitrate: MP3@320K/s
Time: 45:07
Size: 103.3 MB
Styles: Jazz guitar
Year: 2015
Art: Front

[3:59] 1. Jumpin' Asaba Blues
[3:59] 2. Easy Like
[3:18] 3. North Of The Border
[5:35] 4. Angel Eyes
[4:16] 5. Crazy Rhythm
[3:03] 6. Blues For The Poll Winners
[4:42] 7. Mean To Me
[3:58] 8. Willow Weep For Me
[4:36] 9. Give Me The Simple Life
[4:13] 10. You Are The One For Me
[3:23] 11. A Night At The Soultrane

Jazz Guitarist in Tokyo, Japan. His playing is a blend of modern and swing styles of jazz, and is strongly inspired by Barney Kessel and Charlie Christian. His upbeat, swinging guitar playing and beautiful chord solos entertain music lovers of all genres and truly stands alone in today’s jazz scene.

Hirofumi was born in Tokyo. in 1986, He started playing piano at age five, and he has been playing the guitar since he was fourteen years old. His playing has spanned genres, including punk, rockabilly, rock and roll, ska, and reggae music. He has traveled with his guitar to New Orleans,Cuba, Jamaica, Australia, and Southeast Asia, jamming with many people along the way.

In Japan, he worked in a jazz bar, where he met many great jazz musicians, including Yoshiaki Okayasu, one of the greatest jazz guitarists in Japan. Hirofumi studied jazz under Okayasu for four years.

Easy Like

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Holly Cole - The Best Of Holly Cole

Bitrate: MP3@320K/s
Time: 46:03
Size: 105.4 MB
Styles: Cabaret, Vocal jazz
Year: 2000
Art: Front

[3:20] 1. Trust In Me
[4:37] 2. Calling You
[3:10] 3. God Will
[2:58] 4. Blame It On My Youth
[4:10] 5. I Can See Clearly Now
[4:18] 6. Don't Let The Teardrops Rust Your Shining Heart
[2:35] 7. Cry (If You Want To)
[3:44] 8. Jersey Girl
[3:28] 9. Train Song
[2:54] 10. I Want You
[3:57] 11. Make It Go Away
[3:25] 12. I've Just Seen A Face
[3:21] 13. Alison

As leader of the Holly Cole Trio, the smoky-voiced jazz chanteuse has created an impressive catalog over the last decade with her longtime cohorts Aaron Davis (piano) and David Piltch (string bass), seamlessly mixing blues, pop, and jazz. This collection gathers tunes which allow the sultry singer to stand out above sparse yet often playful arrangements. The first three tracks epitomize the diversity of her approach. On "Trust in Me," she plays it subtle and sly, asking her lover to "trust in me," sometimes singing a few bars a capella. She shows her wares as a torch singer on "Calling You," while a spry arrangement of Lyle Lovett's "God Will" offers a glimpse of her blues persona. Part of Cole's charm comes from the way she interacts with her mates; the first verse of "I Can See Clearly Now" is sung richly over Piltch's plucky solo bass before Davis' piano and a gentle string section glide in. Many people were puzzled that a singer who excels at jazz standards would tackle the Tom Waits catalog, but some of the best tracks from the Waits tribute Temptation show up here as well. "Jersey Girl" is particularly impressive, with Cole's low voice rising above a chorus of "sha-la"s and Davis and Piltch's simple percussive magic. ~Jonathan Widran

The Best Of Holly Cole

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Peter Martin - In The P.M.

Styles: Vocal And Piano Jazz

Year: 2013

File: MP3@320K/s

Time: 60:23

Size: 138,5 MB

Art: Front

(7:11)  1. Never Let Me Go

(7:31)  2. If It's Magic

(4:53)  3. You'd Be So Nice to Come Home To

(3:56)  4. Come Rain Or Come Shine

(5:27)  5. Modern Cacophony

(5:32)  6. Only in a Dream

(5:28)  7. The Answer

(6:10)  8. Lament

(5:11)  9. 'Ting for Ray

(5:59) 10. The Nearness Of You

(3:01) 11. It Could Happen To You

Known to most as Dianne Reeves' musical director, pianist Peter Martin takes her stellar touring trio on a musical journey through jazz's heartland on In the P.M.; guest vocalist Erin Bode adds a warm and welcome lyricism to the session. Familiar standards and fresh originals turn the trio loose with unbridled energy. As Martin interprets "Come Rain or Come Shine" a cappella, he turns it up a notch. His keyboard technique takes him all over the place. Elsewhere, with bass and drums in a cohesive respite, the pianist lights sparks that ignite the music indelibly. Gregory Hutchinson and Reuben Rogers turn in a stellar performance, both individually and as Martin's musical partners. Leisurely ballads and hard-driving romps allow the trio to express a wide range of emotions. Martin sweeps his melodies in an uplifting fashion, exploring dramatic romps with intuitive play. He and Rogers communicate well, adding octave unisons to the formula on occasion. Their tender-hearted interpretations result in a genuine landscape that's filled with floating melodies and uplifting harmonies. Rhythmically, the trio meets each occasion head-on with soul-stirring confidence.

Rogers' "'Ting for Ray" saunters casually with a Ray Brown walk and blues-hued strides. Featuring Rogers' bass, the trio takes this one to the height of expressive blues. His bass converses with the heartfelt charm of a blues pioneer. Martin works hard to keep the jazz tradition alive. While appearing around the country with Dianne Reeves, he drives forcefully from the piano bench with a natural sense of musical organization. In a 2002 AAJ interview, he credited Wynton Marsalis for the leadership that has affected him and others around the world amicably. At age 13, Martin's father arranged a meeting between two that has since borne fruit. Thanks to the role model that Marsalis has provided, artists such as Peter Martin stand out as well for their true dedication to the field of mainstream jazz. ~ Jim Santella  http://www.allaboutjazz.com/in-the-pm-peter-martin-maxjazz-review-by-jim-santella.php

Personnel: Peter Martin- piano, Fender Rhodes; Reuben Rogers- bass; Greg Hutchinson- drums; Erin Bode- vocals on "You'd Be So Nice to Come Home To," "The Nearness of You" and "It Could Happen to You."

In The P.M.

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Pam Lawson - Fred Astaire & Ginger Rogers - A Celebration In Song

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 59:34
Size: 137,6 MB
Art: Front

(2:56)  1. I Won't Dance
(3:52)  2. Flying Down to Rio
(2:28)  3. A Needle in a Haystack
(2:57)  4. Night and Day
(3:37)  5. The Continental
(2:56)  6. I'll Be Hard to Handle
(3:06)  7. Isn't This a Lovely Day
(2:04)  8. Top Hat, White Tie and Tails
(2:34)  9. Let Yourself Go
(2:03) 10. I'm Putting All My Eggs (In One Basket)
(2:35) 11. Let's Face the Music and Dance
(2:27) 12. Pick Yourself Up
(4:29) 13. The Way You Look Tonight
(3:06) 14. A Fine Romance
(2:06) 15. Slap That Bass
(4:11) 16. Gershwin Medley
(4:32) 17. Change Partners
(3:16) 18. Cheek to Cheek
(4:10) 19. Smoke Gets in Your Eyes

It’s hard not to like Pam Lawson. As the audience is greeted by the soft, languid rendition of “I Won’t Dance” as they file in, Lawson meets them like old friends with a big smile and easy manner, setting the tone for the next hour. This show lives up to it’s subtitle as A Celebration In Song, and is an opportunity for the singer to share her love of the music from the classic 1930s films of Fred and Ginger. Interspersed with a witty narrative of anecdotes gleaned from autobiographies by the iconic Hollywood pair, Pam Lawson takes us through the music from the nine RKO Radio Pictures movies featuring the dancing duo. On a blank stage and backed brilliantly on piano by Tom Finlay, and on double bass by Ed Kelly, Pam Lawson, in a flowery tea-dress, invites the audience to sing along or even dance if they dare. With the house lights up throughout, it feels almost like you are relaxing in your Granny’s living room on a rainy afternoon listening to music that never seems to age and will still get everyone’s toes tapping.

Lawson has a fine alto voice that skips happily along the bouncing melodies of Irving Berlin and Cole Porter, though at times nerves show through during this opening performance with some of the higher, sustained notes missing their pitch slightly and the odd forgotten line. However, her friendly manner means you forgive the occasional slip, especially when she wraps you up in her velvety lower tones during a medley from 1937’s “Shall We Dance” composed by Gershwin. Opting for a clean sound with no noticeable reverberation coming through the small PA, the only textures in the vocals come from Lawson herself; her natural vibrato, hushed sultry air and occasional well placed stronger notes. Despite professing not to dance, Pam sashays across the stage during each number and even gets in a small tap routine: after all, as she says, you can’t do Fred and Ginger without one. Her diction is spot on and her animated delivery conveys the meaning of each song in a way that many singers struggle with. 

The highlight has to be the rendition of “Slap That Bass”, as the duet between Ed Kelly’s bass and Lawson’s voice during the introduction compliments each instrument wonderfully. Pam Lawson clearly loves the repertoire she performs and her enthusiasm for the genre shines through the hour long show. For those who share this affection there is probably no better way to spend an afternoon than humming along with fingers drumming to the music of some of the greatest films from Hollywood’s Golden Age. http://www.edinburghspotlight.com/2012/08/fringe-review-pam-lawson-fred-astaire-and-ginger-rogers-a-celebration-in-song/

Fred Astaire & Ginger Rogers - A Celebration In Song

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Randy Weston - Marrakech In The Cool Of The Evening

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 69:44
Size: 160,1 MB
Art: Front

(3:42)  1. In The Cool Of The Evening
(4:37)  2. Portrait of Billie Holiday
(5:36)  3. Two Different Ways to Play the Blues
(7:32)  4. Portrait of Dizzy: A Night in Tunisia...
(3:22)  5. Lisa Lovely
(4:25)  6. Uli Shrine
(3:51)  7. Blues for Elma Lewis
(4:51)  8. Ballad for T
(4:04)  9. Valse Triste Valse
(6:28) 10. Where?
(3:37) 11. Let's Climb a Hill
(5:12) 12. The Jitterbug Waltz
(6:06) 13. Blues for Five Reasons
(6:14) 14. Lotus Blossom

Over the course of his career, Randy Weston has occasionally revisited the solo piano context. Here, opening with Nat "King" Cole's "In the Cool of the Evening," Weston thoughtfully mixes his own compositions with telling covers (Billy Strayhorn, Dizzy Gillespie, and Fats Waller). Alone at a piano, it's evident how expansive and orchestrally-oriented Weston's musical thinking is; he utilizes beautiful density and open atmospherics with equal aplomb, and all with gorgeous melodicism. The album was digitally recorded live to 2-track in the ballroom of the La Mamounia Hotel in Marrakech, Morocco, a perfect setting for Weston, preserving both the cool and broad sound of the large room and the warmth of his piano playing. http://www.allmusic.com/album/marrakech-in-the-cool-of-the-evening-mw0000644281

Personnel: Randy Weston (piano).

Marrakech In The Cool Of The Evening

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Rev. Marv Ward - Catharsis

Styles: Rock
Year: 2015
File: MP3@320K/s
Time: 34:25
Size: 79,2 MB
Art: Front

(3:09)  1. Bouncing Baby Boogie
(5:41)  2. I'm Just Drivin'
(3:30)  3. I Believe In You
(4:30)  4. Angels Call
(5:03)  5. Legba in My Dreams
(3:13)  6. Daydreaming
(3:58)  7. Runinn' Free
(5:19)  8. Judgement Day

Eight smoking tracks that range from a Freddie King inspired instrumental, Blues-Rock, Americana, to a funky throw down that will get your toes tapping and your head scratching. Guest Artist include, Shrimp City Slim on piano, Todd Edmonds of The Otis Taylor Band on bass, Mike Fore on harmonica, LJ Errante on mandolin, and Kristen Elaine Harris on fiddle. Veteran blues guitarist Marv Ward grew up in the small town of Lorton, Virginia. He played his first gig at 10 and started performing professionally at age 16. He's played in literally dozens of bands over the past 45 years and has secured his place among bluesmen with his straight-forward no-nonsense blues style.  It's a little bit Delta, a litle bit Piedmont, a whole lot of R&B, but mostly, it's straight up Rev. Marv Ward. 

The Rev. has played his original and visionary blues stylings in venues all over the country and has shared stages with music legends such as Aerosmith, Joan Baez, Dave Van Ronk, Paul Geremia, Maria Muldaur, Nappy Brown, John Hammond, Bob Margolin, Big Bill Morganfield, Mac Arnold, Mooky Brill and many more. “CATHARSIS” his latest CD, and " I Should Know Better" plus “Love Like You Never Been Burned” his earlier works only hint at the warmth and appeal of this veteran guitarist and his talented band. Expect sizzling Piedmont picking, Delta blues, greasy rags, and straight-ahead rocking urban blues from this South Carolina singer, songwriter, guitarist and poet. http://www.marvward.com/

Catharsis

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Conte Candoli All Stars - Little Band, Big Jazz

Bitrate: MP3@320K/s
Time: 28:39
Size: 65.6 MB
Styles: Trumpet jazz, Bop
Year: 1960/2008
Art: Front

[4:03] 1. Muggin' The Minor
[4:57] 2. Mambo Diane
[5:02] 3. Countin' The Blues
[3:58] 4. Zizanie
[5:07] 5. Macedonia
[5:31] 6. Little David

Conte Candoli (tp), Buddy Collette (ts), Vince Guaraldi (p), Leroy Vinnegar (b), Stan Levey (d).

For the first time on CD. Opportunities to lead his own record date have been surprisingly rare through the years for the talented bop trumpeter Conte Candoli. This obscure LP is one of only two albums Candoli headed during 1958-84! Candoli teams up with other West Coast players of the era (tenor saxophonist Buddy Collette, pianist Vince Guaraldi, bassist Leroy Vinnegar and drummer Stan Levey) for six of his fairly basic originals including such numbers as "Muggin' the Minor," "Mambo Diane" and "Countin' the Blues."

Little Band, Big Jazz

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Harold Land - Lip Service

Bitrate: MP3@320K/s
Time: 71:59
Size: 164.8 MB
Styles: Bop, Saxophone jazz
Year: 2015
Art: Front

[4:49] 1. Don't Explain
[8:20] 2. Catacomb
[7:44] 3. Terrain
[5:32] 4. Klact-Oveeseds-Tene
[6:53] 5. Hear Ye!
[6:46] 6. Compulsion
[5:25] 7. Rosie's Spirit
[7:03] 8. Ursula
[4:57] 9. Pari Passu
[7:46] 10. Triplin' Awhile
[6:41] 11. Somara

Harold Land is an underrated tenor saxophonist whose tone has hardened with time and whose improvising style after the 1960s became influenced by (but not a copy of) John Coltrane. He grew up in San Diego and started playing tenor when he was 16. After working locally and making his recording debut for Savoy (1949), Land had his first high-profile gig in 1954 when he joined the Clifford Brown/Max Roach Quintet. Land performed and recorded with the group until late 1955 when due to family problems he had to return home to Los Angeles (where he has been based ever since). He played with Curtis Counce's band (1956-1958), recorded a pair of memorable albums for Contemporary (1958-1959), led his own groups in the 1960s, and co-led groups with Bobby Hutcherson (1967-1971) and Blue Mitchell (1975-1978). Harold Land continued freelancing around Los Angeles up until his death in 2001. Land recorded as a leader (in addition to Savoy and Contemporary) for such labels as Jazzland, Blue Note, Imperial, Atlantic, Cadet, Mainstream, Concord, Muse, and Postcards. His son, Harold Land, Jr., occasionally played piano with his groups. ~bio by Scott Yanow

Lip Service

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Jonah Jones - I Dig Jonah!: The Capitol Records Collection

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.3 MB
Styles: Trumpet jazz
Year: 2000/2010
Art: Front

[2:38] 1. On The Street Where You Live
[2:29] 2. You're Just In Love
[2:18] 3. Baby Won't You Please Come Home
[2:01] 4. Tangerine
[2:07] 5. Get Me To The Church On Time
[2:41] 6. I Can't Get Started
[2:09] 7. Baubles, Bangles And Beads
[2:09] 8. No Moon At All
[3:37] 9. Swing, Moten
[4:52] 10. St. James Infirmary
[2:05] 11. Lullaby Of Broadway
[2:28] 12. Night Train
[2:05] 13. I Dig Chicks!
[2:33] 14. Put On A Happy Face
[2:43] 15. Struttin' With Some Barbeque
[2:44] 16. Dansero
[2:28] 17. South Of The Border
[2:23] 18. Around The World
[2:08] 19. It's A Blue World
[2:11] 20. Pennies From Heaven
[2:19] 21. More Than You Know
[2:11] 22. A Touch Of Blue
[2:51] 23. They Can't Take That Away From Me
[2:07] 24. Lazy River
[2:58] 25. Memories Are Made Of This

A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91. ~bio by Scott Yanow

I Dig Jonah!: The Capitol Records Collection

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Rumer - Boys Don't Cry

Bitrate: MP3@320K/s
Time: 41:35
Size: 95.2 MB
Styles: Pop-rock, Adult Alternative
Year: 2012
Art: Front

[4:08] 1. P.F. Sloan
[3:18] 2. Travelin' Boy
[3:29] 3. Sara Smile
[3:25] 4. Be Nice To Me
[2:46] 5. The Same Old Tears On A New Background
[3:44] 6. Soulsville
[3:32] 7. Welcome Back
[4:02] 8. Flyin' Shoes
[2:37] 9. Just For A Moment
[2:24] 10. It Could Be The First Day
[4:07] 11. Brave Awakening
[3:58] 12. A Man Needs A Maid

Rumer's sophomore effort, 2012's Boys Don't Cry, is a retro soft rock covers album that finds the vocalist tackling tracks by various male artists of the 1970s. As with her acclaimed 2010 debut, Seasons of My Soul, Boys Don't Cry showcases Rumer's gentle and sweetly soulful vocal style that is clearly perfectly suited to this material. In fact, for anyone already familiar with her, it almost goes without saying that Rumer sounds a lot like soft pop icon Karen Carpenter. However, rather than coming off as a copycat, Rumer always sounds like the real thing and seems like she has genuine respect and love for Carpenter and the rest of the soft singer/songwriter titans. She nailed Bread's "Goodbye Girl" on Seasons for gosh sakes, and Boys Don't Cry takes its cue from that cover and not the original material written in a retro style that made up most of Seasons. Here we get Rumer's take on such laid-back cuts as Jimmy Webb's "P.F. Sloan," Todd Rundgren's "Be Nice to Me," and Hall & Oates' "Sara Smile," among others. Adding to the '70s soft rock vibe is the lush orchestral production from Steve Brown, who was also responsible for the sound of Seasons. These are organic and rich-sounding tracks that frame Rumer's voice in sparkling piano, cinematic bits of strings, rounded horn parts, the twang of the occasional pedal steel guitar, and even a poignant harmonica line, as on Townes Van Zandt's "Flyin' Shoes." Kudos to Rumer for not just covering the most well-known cuts from the best-known '70s artists, but also including such lesser-known numbers as Clifford T. Ward's "Home Thoughts from Abroad" and Terry Reid's "Brave Awakening." ~Matt Collar

Boys Don't Cry

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Rita Marie - So Many Stars

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 46:50
Size: 110,9 MB
Art: Front

(2:08)  1. You'd Be So Nice To Come Home To
(5:55)  2. You Go To My Head-Coots/Gillespie
(4:48)  3. So in Love
(3:22)  4. Old Devil Moon
(4:34)  5. Easy Street
(3:37)  6. It's All Right With Me
(3:44)  7. Slow Hot Wind
(3:19)  8. Why Don't You Do Right
(3:37)  9. No Moon At All
(3:29) 10. How Deep Is the Ocean
(4:18) 11. You Must Believe in Spring
(3:54) 12. So Many Stars

This is the debut CD of Rita Marie performing some of her favorite classic jazz tunes. The collection includes a unique variety of songs written by Cole Porter Irving Berlin, Michelle Legrand, Sergio Mendez, Henry Mancini, as well as other fine composers spanning the first half of the last century. The warm and sensual vocals will enchant and inspire you. These romantic and moving songs are masterfully delivered by some of South Florida's finest jazz musicians. Enjoy this listening experience which is of course, all about LOVE! http://www.cdbaby.com/cd/ritamarie1

Personnel: Rita Marie (vocals); Jeff Padowitz (piano); Giuseppi Pucci (drums).

So Many Stars

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Michael Feinstein - Livingston & Evans Songbook

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 74:37
Size: 172,3 MB
Art: Front

(2:24)  1. You're So Right For Me
(4:56)  2. Mona Lisa
(2:57)  3. What Fools These Mortals Be
(2:40)  4. Buttons and Bows
(3:49)  5. The Late Scene
(1:59)  6. Bonanza / Mr. Ed
(3:01)  7. All the Time
(3:37)  8. How Much Will I Love You
(2:39)  9. His Own Little Island
(2:58) 10. Silver Bells
(2:57) 11. Ya' Got Class
(4:51) 12. Never Let Me Go
(4:33) 13. Jubilie-Jubilo
(3:18) 14. Tammy
(3:03) 15. Through Children's Eyes
(4:20) 16. To Each His Own
(3:26) 17. Almost in Your Arms
(2:32) 18. Henriette
(3:07) 19. The Mating Season
(2:12) 20. Whatever Will Be Will Be (Que Sera, Sera)
(2:37) 21. As I Love You
(3:36) 22. Anywhere But Here
(2:54) 23. Wish Me a Rainbow

There are major songwriters whose names are as well known as those of the singers of their songs, and there are others who are largely unknown, requiring a list of their biggest hits to bring their accomplishments into focus. The team of Jay Livingston and Ray Evans fits into the latter category, probably because they wrote primarily for the movies rather than the Broadway stage and because their heyday occurred from the late '40s to the late '50s, instead of during the perceived golden age of the 1930s. So, here's the list: "Que Sera, Sera (Whatever Will Be, Will Be)," "Mona Lisa," and "Buttons and Bows" were their Oscar-winners, and among their other hits were "Silver Bells," "Tammy," and "To Each His Own." All those songs are featured on Michael Feinstein's tribute album, the flagship release on his new Feinery imprint for Concord Records. The album was made very much with the support of Livingston and Evans.

Livingston (who died of pneumonia on October 17, 2001, at age 86) sings along and plays piano on several songs, and he and Evans submitted to an extensive interview printed in the CD booklet. The songwriters have also provided a number of lost songs from aborted projects that add considerably to their catalog. Writing on assignment, Livingston and Evans were versatile to a fault, such that it's hard to find a consistent style to their work. Feinstein imposes his own style, however, singing the ballads with his exaggerated smoothness and the novelty songs with appropriate sprightliness. On occasion, one wishes for more instrumentation and fuller arrangements to do justice to songs written with Hollywood orchestras in mind, but the intimacy of the songbook approach brings out the songwriters' craftsmanship well. Melissa Manchester's torchy performance of "Never Let Me Go" is a particular standout. ~ William Ruhlmann  http://www.allmusic.com/album/livingston-and-evans-songbook-mw0000226773

Personnel: Michael Feinstein, Jay Livingston (vocals, piano); Melissa Manchester (vocals); Wayne Johnson (guitar); Warren Luening (trumpet); Shelly Markham, Page Cavanaugh (piano); Phil Mallory, Cliff Hugo (bass); Dave Tull (drums).

Livingston & Evans Songbook

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Paul Desmond - From the Hot Afternoon

Styles: Saxophone Jazz

Year: 2000

File: MP3@320K/s

Time: 57:21

Size: 132,1 MB

Art: Front

(3:00)  1. Outubro (October)

(4:33)  2. Gira Girou (Round n' Round)

(3:09)  3. Faithful Brother

(4:01)  4. To Say Goodbye

(3:31)  5. From The Hot Afternoon

(3:46)  6. Circles

(3:05)  7. Martha & Romao

(2:46)  8. Catavento

(4:25)  9. Canto Latino (Latin Chant)

(4:41) 10. Crystal Illusions

(4:21) 11. Gira Girou (Round n' Round)

(2:49) 12. Faithful Brother

(3:56) 13. From the Hot Afternoon

(2:31) 14. Catavento (Alternative Take)

(4:01) 15. Canto Latino (Latin Chant)

(2:38) 16. From the Hot Afternoon

Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless -- until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, quoting "St. Thomas." This 2000 Verve "By Request" edition adds no less than six alternate takes to the package. ~ Richard S.Ginell http://www.allmusic.com/album/from-the-hot-afternoon-mw0000653404

Personnel: Edú Lobo (vocals, guitar); Paul Desmond (saxophone, alto saxophone); Wanda de Sah (vocals); Dorio Ferreira (guitar); Margaret Ross (harp); Lewis Eley, George Ockner, Avram Weiss, Eugene Orloff, Sylvan Shulman, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Paul Gershman (violin); Charles McCracken , George Ricci (cello); Stanley Webb , Stan Webb (flute, alto flute, percussion); Don Hammond, Hubert Laws (flute, alto flute); George Marge, Phil Bodner (clarinet, oboe, saxophone); Irvin "Marky" Markowitz, Marvin Stamm (trumpet, flugelhorn); James Buffington (French horn); Paul Faulise (bass trombone); Pat Rebillot (electric piano, keyboards); Airto Moreira (drums, percussion); Jack Jennings (percussion).

From the Hot Afternoon

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Norm Drubner - Let's Fall In Love

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(3:28)  1. Isn't It a Lovely Day
(2:15)  2. How About You
(2:53)  3. I Don't Know Enough About You
(3:19)  4. My Funny Valentine
(2:40)  5. Let's Fall in Love
(4:18)  6. Where or When
(3:08)  7. Too Marvelous for Words
(4:58)  8. Maybe You'll Be There
(2:36)  9. The Day Isn't Long Enough
(2:48) 10. Day in Day Out
(2:25) 11. You'll Never Know
(3:00) 12. If You Were the Only Girl in the World

With his warm, breathy voice, Norm Drubner can reflect the emotional pulse of even the most familiar of jazz standards. Suddenly, what once seemed to be so engrained in the consciousness that new feelings were muted becomes fresh and alive once again. On his latest album Let’s Fall in Love, Drubner doesn’t do the usual, which is a paint-by-numbers rendition of classic material, so often the case with other artists. Instead, Drubner offers his own interpretation of them, letting his personal affection and experiences for each song drive every performance.

Drubner’s ability to communicate real feelings into these tunes is a huge key to his success. On “My Funny Valentine,” the gentle romanticism in Drubner’s vocals pierces the heart; his lovely singing is perfectly balanced with the sublime piano playing. Together, they light the candles of amore. On “You’ll Never Know,” Drubner’s voice is in front of the mix, giving it heightened intimacy; it almost sounds like he’s whispering it to your ear. The strong production values and tasteful instrumentation on Let’s Fall in Love further complement Drubner’s vocal strengths. The sweetly melodic piano of “The Day Isn’t Strong Enough” and the sweeping beauty of “Too Marvelous for Words” create a blissful listening experience, especially on these simmering spring afternoons. http://news.allaboutjazz.com/vocalist-norm-drubner-captures-emotional-highs-of-jazz-classics-on-new-cd.php

Let's Fall In Love

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