Bob James, Nathan East - The New Cool

Bitrate: MP3@320K/s
Time: 53:17
Size: 122.0 MB
Styles: Piano jazz, Contemporary jazz
Year: 2015
Art: Front

[7:06] 1. The New Cool
[5:05] 2. Oliver's Bag
[4:30] 3. All Will Be Revealed
[5:12] 4. Midnight Magic Love Me As Though There Were No Tomorrow
[5:01] 5. Crazy
[4:32] 6. How Deep Is The Ocean
[5:03] 7. Canto Y La Danza
[3:24] 8. Waltz For Judy
[4:08] 9. Seattle Sunrise
[5:21] 10. Ghost Of A Chance
[3:50] 11. Turbulence

After 25 years of collaboration, Bob James and Nathan East have released their debut duo album The New Cool in September on Yamaha Entertainment Group. The New Cool marks new territory for legendary jazz pianist Bob James and bassist Nathan East, who’ve spent decades playing together in contemporary jazz quartet Fourplay but never before as an official duo. “The more I played with Nathan over the course of many live performances and spanning more than 20 years, the more in sync we were whether or not we had the anchor of the drums,” says James. “Something special happens when we only have each other’s notes to play off of, when the music is totally exposed.” Recorded entirely in Nashville, Tennessee, the album is a collection of original material contributed by both James and East, along with a small selection of standards. The duo’s musicianship is laid bare in a soulful reimagining of Irving Berlin’s “How Deep is the Ocean,” while the pair is joined by strings and woodwinds for a surprising take on Willie Nelson’s classic country hit “Crazy.” A two-time Grammy Award-winning jazz pianist, arranger, and producer, Bob James is recognized as one of the original founders of smooth jazz. Long revered in the hip-hop community, James’ compositions are among the most sampled songs in history. Nathan East was 16 years old when he went on the road with Barry White and has spent the last four decades playing with a who’s who of performers, including Quincy Jones, Eric Clapton, George Harrison, Michael Jackson, Phil Collins, Whitney Houston, Beyoncé, Barbra Streisand, and Stevie Wonder. East performed on the 2014 Grammy Record of The Year, Daft Punk’s “Get Lucky.” The New Cool is produced by Chris Gero, Bob James, and Nathan East. It comes on the heels of East’s Grammy-nominated solo debut, Nathan East, also released on Yamaha Entertainment Group.

The New Cool

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Hazel Scott - Relaxed Piano Moods

Styles: Piano Jazz

Year: 1955

File: MP3@320K/s

Time: 41:12

Size: 96,9 MB

Art: Front

(3:51)  1. Like Someone In Love

(4:06)  2. Peace Of Mind

(4:47)  3. Lament

(4:00)  4. The Jeep Is Jumpin'

(4:30)  5. Git Up From There

(6:08)  6. A Foggy Day

(4:48)  7. Mountain Greenery

(4:00)  8. Git Up From There - Alternate

(4:57)  9. Lament - Alternate

Hazel Scott's impressive bop piano was just one facet of talents that extended to playing classical music on the concert stage, singing and acting on-stage and onscreen, and hosting her own radio and television shows. A child prodigy, Scott entered Juilliard at the age of eight and made extensive concert tours of Europe, Africa, and the Near East before recording this date for Debut Records in 1955. For the set, she is accompanied by Debut's founders bassist Charles Mingus and drummer Max Roach. Given her talent and training, it's no surprise that Scott has technique to burn. Her energetic presence and personality and easy authority at the piano are amply demonstrated on the up-tempo numbers "The Jeep Is Jumpin'," "A Foggy Day," and "Mountain Greenery," and on the smouldering mid-tempo of Scott's "Git up From Here." The two ballad tracks are not quite so distinctive, although Scott's attractive performance of "Like Someone in Love" is elegantly detailed and nuanced. The alternate takes of "Git up From Here" and "Lament" are tentative compared to the main takes. Mingus and Roach are generally heard in supporting roles which they perform to perfection but they also get in some nice four- and eight-bar vignettes here and there. This music is also part of the Mingus boxed set The Complete Debut Recordings. ~ Jim Todd  http://www.allmusic.com/album/relaxed-piano-moods-mw0000087888

Personnel: Hazel Scott (piano); Charles Mingus (bass); Max Roach (drums).

Relaxed Piano Moods

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Melissa Lauren - Your Mess

Styles: Vocal Pop
Year: 2015
File: MP3@320K/s
Time: 43:40
Size: 100,8 MB
Art: Front

(4:14)  1. Room Is Too Small
(3:25)  2. Walk Behind Me
(4:26)  3. Your Mess
(3:39)  4. Houses
(4:31)  5. All Too Soon
(3:33)  6. Send Them Away
(3:29)  7. Every Little Thing She Does Is Magic
(3:12)  8. Nice Smile
(4:09)  9. The Wind
(5:55) 10. End of the World
(3:02) 11. It Could Happen to You (Bonus Track)

For Your Mess, Melissa collaborated with Toronto bassist Mark Cashion on songwriting and producing efforts. The outcome is a quirky, more playful sound that tests an interesting balance of darker harmonies and theatrical grooves, coupled with Melissa’s signature delicate and feminine vocal inflections.The album consists of seven originals, which range in style from jazz, blues, dreamy do-wop, to folk, to New Orleans durge. It also features four covers, including an Ellington ballad, and an ethereal cover of the Police’s “Every Little Thing”. With a central theme of the beauty and torment of a mess, the songs delve into the more extreme sides of emotions we feel when dealing with the fact that our lives can completely flip in the blink of an eye. https://www.cdbaby.com/cd/melissalauren6

Musicians: Melissa Lauren - vocals, Mark Cashion - bass, Nathan Hiltz - guitar and ukulele, Eric St-Laurent - guitar, Sly Juhas - drums and percussion, Michel DeQuevado- Djembe (track 7), Kelsey McNulty - rhodes (track 7)

Your Mess

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Herb Alpert - Come Fly With Me

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 40:47
Size: 94,6 MB
Art: Front

(2:38)  1. Come Fly With Me
(3:36)  2. Blue Skies
(3:00)  3. Got A Lot Of Livin' To Do
(3:22)  4. Cheeky
(2:44)  5. Take The
(4:10)  6. Love Affair
(4:29)  7. Windy City
(2:39)  8. Sweet And Lovely
(2:56)  9. Walkin' Tall
(3:13) 10. Night Ride
(2:51) 11. Something
(1:39) 12. On The Sunny Side Of The Street
(3:25) 13. Danny Boy

Since his 2009 return to regular recording after a ten-year hiatus, trumpeter Herb Alpert has stayed busy releasing albums, some with his wife, vocalist Lani Hall, and others, like 2015's Come Fly with Me, on his own. 80 years old at the time of this release, Alpert has gone from instrumental pop icon of the '60s and '70s to journeyman performer with decades of experience to draw from. Working with a bevy of longtime collaborators including his nephew, programmer Randy "Badazz" Alpert, bassist/guitarist/producer Hussain Jiffry, keyboardist/producer Bill Cantos, keyboardist/guitarist Jeff Lorber, Alpert has crafted a breezy, low-key collection of originals and cover tunes, that nonetheless retains all of the melodic, jazz-inflected style of his classic recordings. Although Alpert takes on a handful of standards here, he approaches them with a creative sense of fun. To these ends, he reworks the classic Sammy Cahn and Jimmy Van Heusen title track into a Day-Glo, Brazilian bossa nova production. 

Similarly, on Irving Berlin's "Blue Skies," Alpert's supple trumpet is framed by lush orchestral strings that give way to a laid-back reggae groove accented by vibrato-soaked, Beatles-esque guitar hits. And it's not just Broadway standards that benefit from the Alpertization process the Beatles influence pops up again, this time with his stripped-down, ethereal take on the band's 1969 classic "Something." One of the most interesting and effective transformations here is Alpert's R&B style overhaul of "I've Got a Lot of Livin' to Do," from the musical Bye Bye Birdie. Kicking off with an introspective keyboard figure, the song sounds like something along the lines of Miles Davis covering a yearning '90s soul ballad. 

As with most all of Alpert's post-2009 material, Come Fly with Me is a much more low-key and intimate recording than the productions that marked the best of his '60s Tijuana Brass period. That said, by keeping things simple, Alpert and his collaborators illuminate all of the tenderness and direct lyricism of his horn playing. ~ Matt Collar  http://www.allmusic.com/album/come-fly-with-me-mw0002865885

Personnel: Herb Alpert (trumpet);  Scott Mayo (vocals, flute, saxophone); Michael Shapiro (vocals, drums, percussion); Marcel Camargo (guitar, cavaquinho); Jeff Lorber (guitar, keyboards, programming); Hussain Jiffry (guitar); Eduardo del Barrio (strings, keyboards, programming); Dorrel Salmon (Hammond b-3 organ); Bill Cantos, Jamieson Trotter (keyboards); Robert Greenidge (steel drum); Randy "Badazz" Alpert (programming).

Come Fly With Me

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Giovanni Mirabassi Quartet - No Way Out

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:07
Size: 117,8 MB
Art: Front

(7:32)  1. No Way Out
(7:38)  2. The Snow White Syndrome
(5:31)  3. Two Finger Snaps
(6:30)  4. L'Audace
(3:44)  5. Palm'air
(8:03)  6. What Was That Dream About
(5:59)  7. Canzone
(6:07)  8. Il Bandolero Stanco

A stunning empathy between piano and vibraphone. Refined, balanced double bass and drums. An extremely sophisticated quartet, striking a perfect balance between the enlightened creativity of the 60's and today's modern sound. Pianist Giovanni Mirabassi, who is part of this tight quartet together with Stefon Harris on vibraphone, Gianluca Renzi on double bass and Lukmil Perez Herrera on drums, composed "No Way Out" as his second recording for CAM JAZZ. This album opens with the title track, a statement of intent as to the entire recording. The synergism between Mirabassi and Harris leads to steadily evolving musical ideas that unfold out of the pianist's themes. 

All eight tunes in "No Way Out" are by the band leader: From "The Snow White Syndrome" and "What Was Dream About" to "L'Audace", "Canzone" and "Il Bandolero Stanco" (perhaps a tribute to an unappreciated movie featuring the Italian actor Renato Rascel?), listeners are returned to a Mirabassi in a state of grace, capable of composing in a fresh, highly inspired way, heeding the moods and refinement of the great Blue Note standards from the 60's. He is a full-fledged musician who knows how to express himself, for having accrued valuable artistic experience over his long-standing career: his playing with Chet Baker and Steve Grossman, when he was just seventeen; his moving to and growing up in Paris, when he was just over 20; and, not to forget, being awarded the "Django d'Or" and "Victoires du Jazz" prizes in 2002. All this flowed into "No Way Out", a recording to be listened to and enjoyed inquisitively, carefully and committedly, in order to discover how many ideas pop out of the hat of this talented, distinguished pianist from Perugia. ~ Editorial Reviews  http://www.amazon.com/No-Way-Out-Giovanni-Mirabassi/dp/B00PV3BKK0

Personnel: Giovanni Mirabassi (piano); Stefon Harris (vibraphone); Gianluca Renzi (double bass); Lukmil Perez Herrera (drums).

No Way Out

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Tony Scott Septet - Fingerpoppin': Complete Sessions 1954-1955

Bitrate: MP3@320K/s
Time: 59:46
Size: 136.8 MB
Styles: Clarinet jazz
Year: 2011
Art: Front

[3:18] 1. Vendome
[2:39] 2. Blue Room
[2:33] 3. Riding High
[2:47] 4. Late Show
[3:13] 5. Lullaby Of Birdland
[2:28] 6. Squaw With No Reservation
[3:00] 7. Body And Soul
[2:23] 8. My Melancholy Baby
[3:04] 9. Friday The 13th
[3:07] 10. Fingerpoppin'
[3:04] 11. But Not For Me
[2:53] 12. Forty-Second Street
[1:55] 13. Abstraction, No.1
[2:53] 14. Lucky To Be Me
[4:07] 15. Requiem For Lips
[3:08] 16. Autumn Nocturne
[2:04] 17. Our Love Is Here To Stay
[2:52] 18. Sunday Scene
[2:38] 19. Three Short Dances For Solo Clarinet
[2:30] 20. Glad To Be Unhappy
[2:58] 21. Let My Fingers Go!

Jimmy Nottingham (tp), Kai Winding, Billy Byers (tb), Tony Scott (cl), Eddie Wasserman (ts), Danny Bank (bs), Milt Hinton (b), Osie Johnson (d). Recorded in New York City, September 28, 1954, December 18, 1954, January 7 & 12, 1955.

During the early Fifties a good deal was written about the “new sounds” of modern jazz. The seven piece band assembled for these recordings —two saxes, trumpet, trombone, bass and drums— contributed a solid, haunting backdrop which bids fair to keep the aural arguments permanently in the forefront of the cool music league. The absence of guitar and piano helped configure the very special sound we hear —a solid groundwork over which Tony blows at his impressive best. There are no other soloists, for Tony is —and rightly so— the whole show; it is not often that jazz can offer such a brilliant, lucid and logical individual exposé. He is, by any standards, a great clarinetist and, on the strength of these performances alone, very possibly one of the most brilliant spokesmen regardless of instrument.

Fingerpoppin': Complete Sessions 1954-1955

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Paris Jazz Big Band - Mediterraneo

Bitrate: MP3@320K/s
Time: 67:38
Size: 154.8 MB
Styles: Big band
Year: 2001
Art: Front

[7:44] 1. Buleria
[8:21] 2. Heavy Tango
[1:13] 3. Miró
[6:07] 4. Cataluña
[6:41] 5. Valse
[1:31] 6. Escota
[9:53] 7. Estérel
[2:00] 8. Haut De Cagnes
[6:16] 9. Impatience
[1:21] 10. Les Enfants D'ulysse
[1:33] 11. Little Mama
[6:11] 12. For J. K
[4:33] 13. Ifrikiya
[4:08] 14. Derbouka

Après le succès remporté par leur premier album, les membres du PJBB s'offrent ici la Méditerranée en terrain de jeu. Ambiance festive et chaude comme les couleurs de la pochette, la musique déboule tantôt avec énergie, tantôt avec sensualité et reste attachante d'un bout à l'autre du cd. Un disque qui nous annonce les premiers rayons de soleil, les premières chaleurs, les vacances.

Mediterraneo

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Red Young - Duets

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Piano jazz
Year: 2011
Art: Front

[6:11] 1. Song For Marion
[4:57] 2. Seven For Alfredo
[5:34] 3. Hope
[5:17] 4. Meet Me In San Luis
[6:08] 5. A Beautiful World
[4:36] 6. Tahoe
[6:24] 7. El Sol Rojo
[4:38] 8. Seasons
[6:59] 9. Kuilima
[6:55] 10. Le Ciel Bleu
[3:51] 11. Reflections

I’ve been performing now for over 45 years. This collection contains songs I’ve written, mostly instrumental over that period of time which I’ve never recorded. Since I grew up playing classical music, jazz and blues and toured with everyone from Freddy Fender, Dolly Parton, Joan Armatrading, Plas Johnson, Big Bad Voodoo Daddy, Eric Burdon, Linda Ronstadt and many, many others, my music contains many elements of these artists. I recorded these songs in Duet with many of my favorite Artists in my hometown of Austin. Enjoy

Duets

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Earl Hines - Earl Hines in New Orleans

Styles: Piano Jazz

Year: 1977

File: MP3@320K/s

Time: 70:59

Size: 163,1 MB

Art: Front

(4:14)  1. I'll See You in My Dreams

(5:11)  2. I'm a Little Brownbird

(5:26)  3. I Gotta Right to Sing the Blues

(5:30)  4. Blue Skies

(6:11)  5. The Cannery Walk

(6:02)  6. Diane

(8:17)  7. Memories of You

(7:23)  8. Peg O' My Heart

(5:07)  9. Wolverine Blues

(6:17) 10. I Can't Trust Myself Alone

(6:15) 11. Linger Awhile

(5:02) 12. Pretty Baby

Earl Hines' final solo piano record was reissued on CD in 1996 and its original seven selections have been joined by five equally rewarding (and previously unreleased) numbers. 73 at the time, Hines had lost none of the adventure in his playing, as he shows on such tunes as "I'll See You In My Dreams," "Blue Skies," "Diane," and "Wolverine Blues." A half-century after he started making his original impact, Earl Hines was still one of the most exciting pianists in jazz. ~ Scott Yanow  http://www.allmusic.com/album/earl-hines-in-new-orleans-mw0000082783

Personnel: Earl Hines (piano).

Earl Hines in New Orleans

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Gerry Niewood - Gerry Niewood & Timepiece

Styles: Flute and Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 48:10
Size: 111,2 MB
Art: Front

(4:05)  1. Joy
(3:40)  2. Soft Focus
(4:58)  3. Aqua
(3:34)  4. Anyo
(7:28)  5. Manhattan Bittersweet/Snow (Medley)
(4:47)  6. Ralph's Piano Waltz
(5:14)  7. Masada
(6:11)  8. Thorn Of A White Rose
(8:08)  9. Timeless

Gerry Niewood is an instrumentalist (soprano, alto, tenor, baritone saxophones; flute, alto flute, bass flute, piccolo, clarinet) who has lent his melodic invention to artists as diverse as:Chuck Mangione, Peggy Lee, Simon and Garfunkel, Sinead O'Connor, Anne Murray, Thad Jones, Mel Lewis, Mark Murphy, Gil Evans, Astrid Gilbeto, Judy Collins, Frank Sinatra and Gerry Mulligan to name only a few. Gerry is a graduate of the Eastman School of Music. Following graduation, he embarked on a recording and concertizing schedule with the Chuck Mangione Quartet with which he performed for a total of nearly fourteen years.

Six years after graduation, Gerry relocated to the highly fertile music scene of New York City and began freelancing. With so many colors in his Palette, and his adaptability to many musical styles, there has never been a shortage of opportunities for Gerry. But his distinctive voice on one instrument, the soprano saxophone, brought him the greatest praise. He was twice voted Downbeat International critic's poll winner in the category “Talent Deserving Wider Recognition” on Soprano Saxophone. Gerry's Tenor Sax was heard on the sound track to the Robert DeNero film “A Bronx Tale,” his woodwinds in the orchestra for “When Harry Met Sally, “Annie,” “Shining Through,” “National Lampoon Goes to the Movies,” “King of Comedy,” and many others. Gerry is the 1st saxophonist of the Radio City Music Hall Orchestra. In that capacity, he has performed with some of the world's most famous entertainers. As a composer, Gerry Niewood's works have been recorded by: The Chuck Mangione Quartet, Rare Silk, Lena Horn Gerry's resume appears in the Encyclopedia of Jazz, and the Who's Who in Entertainment. http://musicians.allaboutjazz.com/gerryniewood

Gerry Niewood & Timepiece

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Doug Webb - Back East

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:00
Size: 138,2 MB
Art: Front

(3:34)  1. Back East
(3:58)  2. Sally's Song
(3:42)  3. Spiral
(4:43)  4. RDW Esq.
(5:05)  5. Vivo Sonhando
(4:38)  6. 254 West 82nd
(5:09)  7. Dreamsville
(6:52)  8. Stanley
(4:23)  9. Down East
(4:59) 10. Mr. Green
(3:27) 11. If Ever I Would Leave You
(4:59) 12. Snicker's Lament
(4:26) 13. Old Times

Back East, tenor saxophonist Doug Webb's second 2015 release for the Posi-Tone Records label, is not unlike a thirteen course meal in which every course is sublime, yet the portions are rather small and each dish is cleared quickly, leaving one with an intense desire for more of a particular flavor. Needless to say, there is a practical reason for the programming of short tracks on the part of independent labels attempting to release significant jazz recordings and generate enough black ink to survive. In an age when jazz radio is one route to what's left of the record buying public, a disc such as Webb's with only three cuts exceeding five minutes has a better shot at getting some airplay. Looking at it another way, perhaps we all can use a break from CDs filled with tracks exceeding ten minutes which feature players who sound as if they want to jam the sum total of their knowledge into every single solo.

As it turns out, wanting a little more of Webb isn't such a bad thing after all. Contrary to conventional wisdom, saxophone heroes don't have to be longwinded to make an impact. There's nothing artificial or contrived about Webb's relatively brief solos, and the record certainly doesn't sound like he was put in a position of making artistically unsatisfying compromises. Small doses of the leader's artistry help in finding common ground between a distanced, cerebral appreciation of his style and simply enjoying his offerings without subjecting them to excessive thought or analysis. Webb's ability to engage with diverse material and express different facets of a singular identity are the defining characteristics of Back East. The record's success also hinges on the contributions of a band including pianist Peter Zak, bassist Ben Wolfe and drummer Rudy Royston, all of whom roll with the changes while maintaining their own identities as well.

The saxophonist's work on a number of tracks packs a decidedly visceral wallop. Early on during the up-tempo "254 West 82nd" (one of his seven original compositions) Webb generates acute tension in part by repeatedly cutting phrases short and rapidly grasping new ones while constantly driving forward. A sense of an almost unbearable urgency defines "Mr. Green," from the opening head through solos by the leader and Zak. Both of these tracks benefit from the constant presence of Wolfe's steadfast bass line, as well as intense, slippery, rapidly evolving time figures and fills by Royston. Loud, pointed and resolute, "Snicker's Lament" is slow-to-medium tempo blues with a serrated edge. Invoking heartache and fury in equal measure, Webb pounds out a virtual detonation of notes in a structure wound so tightly that the music denies indifference and doesn't offer a means of escape.

While these tracks sometimes bear the influence of the late 50s, early 60s John Coltrane, throughout the record Webb draws from a larger, more flexible palette. Spurred by Zak's active, full-bodied accompaniment, which frequently hovers over and crowds the saxophonist, Webb's lively, bossa-like interpretation of the standard "If Ever I Would Leave You" achieves parity between a loosening of inhibitions and honoring the tune's romantic promises. Throughout an original waltz, "Sally's Song," Webb treads with grace and grit, his rich, middleweight tone animating the solo as much as the thoughtful manner in which he dispenses ideas. Webb frontloads a turn on Jobim's "Vivo Sonhando" with a number of airy, graceful runs before inserting, brief, fanciful impressions between pieces of the tune's melody. 

In today's overcrowded field of tenor saxophonists, most of whom possess an abundance of technique plus the desire to huff and puff till they blow the house down, Webb stands apart by virtue of the smart, logical manner in which he moves through every solo, taking heed of a crack rhythm section, and making a visceral impact that never goes over the top. Do good things come in small packages? In the case of Back East, the adage is true in spades. ~ David A.Orthmann  http://www.allaboutjazz.com/back-east-by-david-a-orthmann.php

Personnel:  Doug Webb: saxophone;  Peter Zak: piano;  Ben Wolfe: bass;  Rudy Royston: drums

Back East

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Claudia Koval - With Heart and Soul

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 37:19
Size: 94,4 MB
Art: Front

(4:39)  1. Body and Soul
(4:17)  2. Moody's Mood / I'm in the Mood for Love
(2:34)  3. Ain't Misbehavin
(3:18)  4. Can't Help Falling in Love
(2:12)  5. Fly Me to the Moon
(3:41)  6. Boulevard of Broken Dreams
(3:52)  7. The Shadow of Your Smile
(2:39)  8. Twisted
(3:19)  9. Windmills of Your Mind
(3:10) 10. Sentimental Journey

(3:35) 11. Home

 

Who knows some information about this singer is welcome
With Heart and Soul

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Gwyneth Herbert - The Sea Cabinet

Size: 119,3 MB
Time: 50:30
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz/Folk Vocals
Art: Front

01. Sea Theme (2:13)
02. The Regal (3:20)
03. Sweeter (3:49)
04. Alderney (4:30)
05. I Still Hear The Bells (4:04)
06. Fishguard Ladies (3:00)
07. Plenty Time For Praying (2:02)
08. Drink (1:55)
09. The King's Shilling (6:45)
10. Promises (5:11)
11. Lorelei (6:40)
12. Drip (4:04)
13. Sea Theme (Reprise) (2:51)

Gwyneth Herbert may be only 31, but the singer and songwriter had already lived several lives when she decamped from her Dalston flat for a week in a Suffolk cottage as part of an artistic residency with Aldeburgh Music. Evenings were dedicated to midnight seaside walks, including a trip to the drowned village of Dunwich, and befriending fishermen in the local tavern. Days, meanwhile, were spent at the piano, down the road in Snape Maltings. She was nursing a broken heart, and the finishing touch it was blowing such a gale that she was forced to play in fingerless gloves.

Gwyneth emerged from her week in Aldeburgh with a spectacular concept album: The Sea Cabinet. The songs weave themselves around the imagined story of a woman who walks the beach every day alone, she explains, picking up all the discarded and washed up objects and taking them home, logging them with archeological rigour. She keeps them in a shack: her ""sea cabinet."" These items are kind of semaphore signals and each one resonates with the memory of a secret sea-set story.

A full decade after her debut album First Songs, The Sea Cabinet finds Gwyneth at her most mature as a writer. The songs, inspired by the Suffolk coast, are timeless and immersive. And the album, knitted together by field recordings, is as unbroken as a shoreline. The Sea Cabinet calls to mind English folk artists from Jacqui McShee to Tunng. There are also touches of Joni Mitchell in Mingus mode, Edith Piaf and the leftfield pop of Psapp, not to mention Ray Davies and Mara Carlyle. Gwyneth herself says would put the record on the shelf marked bluesyfolkypoppyjazzystorysongs but, as on the album itself, she s only half-serious.

Album centrepiece Fishguard Ladies takes its inspiration from the late 18th century, when, legend has it, a handful of local Welsh women headed off an invading French fleet by flashing their red petticoats. They were apparently mistaken for British Grenadiers.Alderney, by contrast, tells the chilling story of the Channel Island following its occupancy by Nazis during World War Two. Elsewhere we have the tender chamber folk of The Regal and, in Drink, a rum-soaked sea shanty. Alongside pop artist Fiona Bevan who collaborates on I Still Hear the Bells and The King s Shilling, the album also features Gwyneth herself on piano and ukulele, multi-instrumentalist folk duo The Rubber Wellies and her regular band: Al Cherry (guitars), Sam Burgess (bass) and David Price (percussion, strings and co-production).

Gwyneth is relishing the fact that, in 2013, a musician s artistic remit can and should extend well beyond the music itself. Crowd-funded and self-released, with shows at Wilton s and Snape Maltings that feature prose, multiple voices and live cymatic projections, The Sea Cabinet is the most ambitious project she has ever attempted. And she is, she says, more creatively fulfilled than ever.

Album number six from Gwyn Herbert is so chock full of delights that you're reaching for the repeat button even as the reprise of the delicately floating 'Sea Theme' draws to a close...Not so much ploughing her own furrow as plotting her own course, The Sea Cabinet is one of the most beguiling collections of songs you'll hear this year - **** --Peter Quinn, Jazzwise, June 2013

The Sea Cabinet

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Harold Sanditen - Flyin' High: Live At The Crazy Coqs

Size: 116,2 MB
Time: 49:12
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Intro To Pass That Peace Pipe (1:36)
02. Pass That Peace Pipe (2:42)
03. Rocky Raccoon (3:30)
04. When In Rome (I Do As The Romans Do) (2:29)
05. Intro To Up On The Roof (0:23)
06. Up On The Roof (2:43)
07. Brazil (2:29)
08. Intro To The Look Of Love (1:17)
09. Come Fly With Me/Route 66 (4:09)
10. The Look Of Love (3:31)
11. Intro To I Got The Sun In The Morning (1:39)
12. I Got The Sun In The Morning (5:09)
13. Around The World (1:47)
14. One Night Only Speak Low (4:14)
15. Never Really Mine To Lose (3:43)
16. Intro To No More Blues (0:29)
17. No More Blues (4:08)
18. Intro To In My Life (0:13)
19. In My Life (2:53)

I was born and raised in Oklahoma – you know, where the wind comes sweeping down the plain, Oklahoma – and have lived in London since 1987.

An intrepid traveller, having visited every continent except Antartica, Harold finds the comedy amongst it all, from Albuquerque to the Zambezi, using songs ranging from Bacharach and the Beatles, through Jobim to Weill. This is a 65-stop world tour in song, packed with laughs, exciting, new, jazz-infused arrangements and you might even shed a tear or two. Come find out who asked Harold “Bloody hell, mate! Aren'tcha gonna take me back to the tent and take advantage of me?!”

During these three shows, a "Live at The Crazy Coqs" CD will be recorded. This will be the first CD recorded in the venue for commercial release, so come be a part of musical history!

Flyin' High

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Philippe Petrucciani & Nathalie Blanc - Remember Petrucciani

Size: 142,3 MB
Time: 61:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Les Etoiles (4:24)
02. A Simple Word (5:08)
03. Hypocondriaque (5:11)
04. C'est Une Danse (4:27)
05. My Old Friend (5:05)
06. Watching TV (5:16)
07. I Remember Paris (3:52)
08. Soir De Mai (4:55)
09. Une Vie (5:55)
10. Carioca (5:24)
11. L'espoir (3:45)
12. Tot Dans Le Matin (4:13)
13. Miles Davis Licks (3:33)

Personnel:
Bass – Dominique Di Piazza
Drums – Manhu Roche
Guitar – Philippe Petrucciani
Guitar Synthesizer – Philippe Petrucciani
Vocals – Nathalie Blanc

This very special album is a tribute to Michel Petrucciani - a loving portrait performed by his brother Philippe Petrucciani and the singer Nathalie Blanc. Philippe often accompanied Michel on guitar and knew Michel saw his compositions as songs and dreamed of putting words to them. This album highlights Blanc's gifts as a vocalist and Philippe's expertise on six strings.

Remember Petrucciani

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Shareef Clayton - North & South

Size: 102,3 MB
Time: 43:53
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. North & South (4:12)
02. Thinking Of Morris (In Memory Of Anthony Morris Clayton) (5:10)
03. Going Home (Feat. Cory Henry) (5:49)
04. I Got You On My Mind (Feat. Chandlar) (4:01)
05. Beyond The Dreams (5:02)
06. Emotions (4:27)
07. Ground Shake (4:27)
08. The Feeling (4:43)
09. Softly, As In A Morning Sunrise (5:58)

Shareef Clayton, a jazz trumpeter, is a native of Miami, Florida. In 2012 Shareef recorded the album "Multiverse" with the “Bobby Sanabria Big Band” which got nominated for a Grammy. Clayton performs regularly with Macy Gray, Melody Gardot, Bobby Sanabria, and the Duke Ellington Orchestra. In the past he has performed with artists such as Stevie Wonder, The Roots, Michael Mcdonald, Ruben Blades, and many more.
Although he was heavily influenced by artist such as Louis Armstrong, Dizzy Gillespie, Wynton Marsalis, Arturo Sandoval, the cultural influence of Miami can still be heard throughout Clayton’s playing and compositions. From piercing notes to slow jams, the sound and feel of his music is intense, he notes “whatever the crowd wants, I can deliver it and the crowd always gets what they want.”

Being a clinician and having the desire to share his talent with the world, he helped others to hone their craft as he taught master classes at numerous different schools. While studying at the Manhattan School of Music in New York, he learned advanced ­level jazz music theory, improvisation, and composition. His vast repertoire includes jazz, r&b, Afro­Cuban, and funk/soul. His studying of music goes far beyond his education in the classroom; Clayton has studied with some of today's leading voices in jazz, such as Arturo Sandoval, Laurie Frink and Melton Mustafa.

He has performed at many famous venues including NBC Studios, Walt Disney World, Blue Note Jazz Club, BB King's Club & Grill, Birdland, Iridium Jazz Club, Jazz Standard, and Jazz at Lincoln Center. He has opened for Slash from the band Guns N Roses, made appearances on television in the U.S. and Europe, and performed on "Last Call with Carson Daly" on NBC with Milo Z.

Shareef, leads his own band “Shareef Clayton Band”. You can listen to his sound on his latest album entitled “North & South”.

North & South

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Bertilla Baker - Movin' On

Size: 162,2 MB
Time: 69:52
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. A Fine Romance (4:03)
02. After The Morning (5:58)
03. It Might As Well Be Spring (6:19)
04. A Something In A Summer's Day (4:44)
05. Capim (5:14)
06. Skylark (7:09)
07. Lonely House (4:24)
08. Hello There Universe (5:23)
09. But Not For Me (5:08)
10. I Musta' Been Dreaming (5:41)
11. Luiza (4:59)
12. My Ship (4:54)
13. I'm Movin' On (5:47)

Jazz singer and Broadway performer Bertilla Baker's debut album, Movin' On.
"It's been a long time in the process,"?Baker, a Norwalk resident, told The Hour. "I started (recording it) back in the late Nineties," after studying jazz vocal improvisation with pianist John Hicks.
Hicks also helped her assemble a band to lay down the earliest tracks on Baker's album, "Movin' On".
"I?did all the arrangements, and (Hicks) wrote out all the parts,"?said Baker, who has been singing professionally since 1977. "We had an absolute jazz dream team," including legendary jazz players like bassist Walter Booker and drummer Billy Hart, as well as her brother, James Baker, a principal percussionist with the New York City Ballet.

Movin' On

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Phil JL Robert & 3Kindred Spirit - Boogaloo Zoo

Size: 112,9 MB
Time: 48:06
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, Blues, World, Fusion
Art: Front

01. Rock This Monkey Blues (5:13)
02. Zoo Road (5:53)
03. Well Alright It's Alright (3:39)
04. The Smiles Of The Leopard (4:31)
05. Hey New-York I'm Comin' (3:21)
06. Hyppopotamus Dance (5:21)
07. No Season For The Sun (5:10)
08. Strength (3:21)
09. Shake The Snake (4:33)
10. From The Other Side Of The Sea (4:19)
11. We Love The Boogaloo (2:40)

Personnel:
Phil JL Robert : Guitar, compositions
Philippe Sellam : Saxophones
Xavier-Desandre Navarre : Percussion
Davy Honnet : Batterie
Melvin Clairault : Singer, lyrics
Anthony Honnet : Hammond organ
Hippolyte Fevre : Trompette & Flute
Nicolas Benedetti : Trombone

The dynamic and festive BoOgAloO ZoO project is fusion of Jump and Blues riffs with African and Caribbean rhythms. This musical creation transports us back in time to the heady atmosphere of Brooklyn and New Orleans at the beginning of the Seventies.
BoOgAloO ZoO is a brand new visual and scenic show that mixes music, improvisation, video, narration and song. It’s a journey that joins together sounds from greats such as Ray Charles, Lallo Schiffrin, Ray Berreto, Grant Green and Isaac Hayes. Phil JL Robert et 3Kindred Spirit spread the new world music word via two major musical forms of expression from the 20th century: Blues and Jazz.
The driving force behind this project is a burning desire to revive the singularly enriched bright sounds of migrant people. Phil JL Robert et 3Kindred Spirit want to share this spirit with you to bring us all together with infectious joy and no little emotion, lest we forget.

Boogaloo Zoo

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Terez Montcalm - Quand On S'Aime

Size: 117,4 MB
Time: 50:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Chanson
Art: Front

01. L'amour Est Comme Un Jour (3:39)
02. Black Trombone (4:46)
03. Quand On S'aime (2:59)
04. Chagrin D'amour (3:01)
05. Docteur (4:08)
06. La Belle Vie (3:32)
07. Les Yeux Ouverts (3:24)
08. Petite Fleur (3:16)
09. Le Temps S'arrête (4:17)
10. Que Veux Tu Que Je Te Dise (4:24)
11. Les Feuilles Mortes (4:30)
12. Juste Nous Deux (3:23)
13. Que Reste T'il De Nos Amours (4:36)

Exhibiting an extraordinarily strong voice from an early age, she attended music school as a teenager and ultimately made her full-length recording debut in 1994 with the album Risque on BMG. Sung primarily in French and comprised of original material as well as covers of Charles Aznavour, Tom Waits, and others, Risque was well received from a critical standpoint, and in the wake of it's release, Montcalm was awarded a Prix Rapsat-Lelièvre in 1995.

Térez Montcalm is a Canadian jazz singer and guitarist who broke through to international success in 2007. Born in Quebec, Canada, she grew up bilingually in a family where French and English were spoken interchangeably and where music was important. Her father, a native English speaker originally from Toronto, was a jazz fan who enjoyed Ella Fitzgerald, Billie Holiday, and Nat King Cole. The youngest of five children, she had brothers who were into Jimi Hendrix and Frank Zappa as well as sisters who were into the Beatles and Edith Piaf. In addition to these influences, Montcalm had favorites of her own, above all Eurythmics lead singer Annie Lennox. Exhibiting an extraordinarily strong voice from an early age, she attended music school as a teenager and ultimately made her full-length recording debut in 1994 with the album Risque on BMG. Sung primarily in French and comprised of original material as well as covers of Charles Aznavour, Tom Waits, and others, Risque was well received from a critical standpoint, and in the wake of its release, Montcalm was awarded a Prix Rapsat-Lelièvre in 1995. She released her follow-up album, Parle Pas Si Fort, on Universal in 1997 and subsequently retreated from the marketplace for a while, not releasing her third album, Térez Montcalm, until five years later in 2002. Montcalm changed direction on her fourth album, Voodoo, which arrived in 2006. Comprised almost entirely of cover songs, many of them well known (e.g., Eurythmics' "Sweet Dreams"), and sung primarily in English rather than French, Voodoo was produced by former Uzeb jazz-rock guitarist Michel Cusson and released on the Universal subsidiary label GSI Musique. A year after its release, Voodoo broke into the French albums chart and remained there for a total of 30 weeks, going all the way to number 43. ~ Jason Birchmeier

Quand On S'Aime

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Elsie Bianchi Trio - Atlantis Blues

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Piano jazz
Year: 1962/2004
Art: Front

[3:20] 1. No Moon At All
[2:45] 2. Baron Lazar
[3:18] 3. Imagination
[1:52] 4. After You've Gone
[6:00] 5. Stormy Weather
[2:47] 6. Lazy River
[2:30] 7. Stompin At The Savoy
[4:07] 8. Canadian Sunset
[2:18] 9. Atlantis Blues
[3:08] 10. I Got It Bad
[2:21] 11. You're Driving Me Crazy

Elsa Bianchi: Piano, Accordion, Vocals; Siro Bianchi: Bass, Clarinet; Hans-Joerg Schmidt: Drums; Fritz Staehli: Drums. Recorded at Atlantis Basel, June 1962, previously unreleased, mastered by Jury Lutz.

... recently, except for the rumour of an odd 10inch Lp pressing from some legendary recordings made in 1962 at the Atlantis Club near the Klosterberg of Basel in Switzerland. The featured tracks present their music at an earlier stage - a more bluesy vain, swinging in between songs of the Amerian Songbook made famous by the likes of Billie Holiday, Frank Sinatra, Ella Fitzgerald, The Mills Bothers or Bessie Smith, aswell as their own instrumentals "Atlantis Blues" and "Baron Lazar". The latter resurfaced in 1964 on one of the first MPS compilations "Piano x 4", in a polished version without Siro`s clarinet as the lead instrument.

All tracks were never released for the public and the untraceable 10inch record soon had an international reputation for being one of the most wanted collectors "phantoms" instead. It was reported to be a jazz club promotional item with an estimated fifty to one hundred pressings only, priced at thousands of dollars in its original format as one of the rarest European jazz recordings on vinyl. Producing a digital remaster from the two copies that could be traced within recent years, we added further tracks from another Atlantis session, found on a second completely vanished promotional item by the trio. It came in form of an EP on the mysterious label "Swiss Records" in the same year, with an estimated one hundred copies only.

You may obtain these rare gems here 42 years after their original pressing in a remastered longplay format, together with unique artwork including unreleased photos from the vaults and archives of the artists. But finally, what`s most important after all these years: A big thank you to Elsa and Siro Bianchi.

Atlantis Blues

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