Vince Guaraldi - The Very Best Of Vince Guaraldi

Bitrate: MP3@320K/s
Time: 58:44
Size: 134.5 MB
Styles: West Coast jazz, Piano jazz
Year: 2012
Art: Front

[3:04] 1. Cast Your Fate To The Wind
[4:32] 2. El Matador
[3:27] 3. Softly, As In A Morning Sunrise
[5:24] 4. Ginza
[2:59] 5. Treat Street
[4:57] 6. Django
[3:06] 7. Linus And Lucy
[3:54] 8. The Lady's In Love With You
[4:45] 9. Star Song
[2:53] 10. Outra Vez
[5:50] 11. Manha De Carnaval
[4:19] 12. Charlie Brown Theme
[3:25] 13. Christmas Is Coming
[6:02] 14. Christmas Time Is Here

As part of Concord Jazz's Very Best of series, pianist and composer Vince Guaraldi is spotlighted on 14 tracks recorded in the '60s. This set is aimed at the casual listener, highlighting Guaraldi's renditions of standards such as "Softly, As in a Morning Sunrise," and "The Lady's in Love with You." Two bossa nova-influenced cuts are taken from Guaraldi's album Jazz Impressions of Black Orpheus featuring the Luiz Bonfá and Antonio Carlos Jobim composition "Manhã de Carnaval," and the surprise hit off the album, "Cast Your Fate to the Wind," which was written by Guaraldi and initially used to fill out the album to make it the appropriate length for the medium. It would be impossible to have a Guaraldi compilation without the mandatory inclusion of music he created for the animated Charlie Brown TV specials. In this case, the Peanuts gang is represented by four tracks: "Linus & Lucy," "Charlie Brown Theme," "Christmas Is Coming," and "Christmas Time Is Here." Throughout, Guaraldi is backed by his standard rhythm section of the era, drummer Colin Bailey and bassist Monty Budwig, while Brazilian guitarist extraordinaire Bola Sete is featured on "El Matador." This is a decent budget-line collection, but the better choice is the double-disc, 31-track compilation The Definitive Vince Guaraldi on Fantasy. ~Al Campbell

The Very Best Of Vince Guaraldi

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Tommy Flanagan, Hank Jones - Our Delights

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 38:54
Size: 91,8 MB
Art: Front

(5:11)  1. Our Delight
(5:42)  2. Autumn Leaves
(7:21)  3. Robbins Nest
(5:04)  4. Jordu
(5:19)  5. Confirmation
(6:21)  6. A Child Is Born
(3:54)  7. Lady Bird

Piano duets have the potential danger of getting overcrowded and a bit incoherent, but neither happens on this rather delightful set. Hank Jones and Tommy Flanagan, two of the four great jazz pianists (along with Barry Harris and Roland Hanna) to emerge from Detroit in the '40s and '50s, have similar styles and their mutual respect is obvious. Their renditions of seven superior bop standards (including "Jordu," "Confirmation" and Thad Jones' "A Child Is Born") plus an alternate take of "Robbins Nest" on this CD reissue are tasteful, consistently swinging and inventive within the tradition. ~ Scott Yanow  http://www.allmusic.com/album/our-delights-mw0000649515

Personnel: Tommy Flanagan, Hank Jones (piano).

Our Delights

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Carmen Lundy - Old Devil Moon

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 49:32
Size: 113,9 MB
Art: Front

(4:44)  1. Star Eyes
(4:47)  2. When Your Lover Has Gone
(4:39)  3. Just One More Chance
(5:22)  4. You're Not In Love
(3:24)  5. I Didn't Know What Time It Was
(4:17)  6. Flying Easy
(3:32)  7. I'm Worried About You Baby
(3:13)  8. Old Devil Moon
(4:28)  9. At the End Of My Rope
(6:32) 10. In A Sentimental Mood
(4:28) 11. Love Me Forever

The deep voice of Carmen Lundy is well showcased on this varied set. With assistance from an impressive backup crew (pianist Billy Childs, flugelhornist Randy Brecker, Frank Foster or Bob Mintzer on tenor, and a pair of rhythm sections), Lundy performs six standards, four of her stimulating originals, and Donny Hathaway's "Flying Easy." The music ranges from fairly straight-ahead to more R&B-oriented, with Carmen Lundy's appealing voice being the main star. ~ Scott Yanow  http://www.allmusic.com/album/old-devil-moon-mw0000027856

Personnel: Carmen Lundy (vocals); Frank Foster, Bob Mintzer (tenor saxophone); Randy Brecker (trumpet, flugelhorn); Harry Whitaker (piano, synthesizer); Billy Childs (piano); Santi Debriano (acoustic bass); Victor Bailey (electric bass); Winston Clifford, Omar Hakim (drums); Mayra Casales (congas, shekere, bongos, tambourine, percussion); Ralph Irizarry (timbales); Lani Groves, Gwen Guthrie, Tawatha Agee, Dennis Collins (background vocals).

Old Devil Moon

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The Pete Jolly Trio - Yeah!

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 64:21
Size: 147,7 MB
Art: Front

(4:55)  1. Yeah!
(5:11)  2. Variations
(6:21)  3. The Man I Love
(7:00)  4. Ah-Moore
(4:47)  5. Lullaby of the Leaves
(3:57)  6. Crazeology
(5:39)  7. Dream Dancing
(4:21)  8. The Red Door
(6:39)  9. Ill Wind
(4:31) 10. Never Never Land
(5:17) 11. Wonder Why
(5:39) 12. Diablo's Dance

Pete Jolly and his sidemen (bassist Chuck Berghofer and drummer Nick Martinis) celebrated their 21st year as a regularly working trio with this fine V.S.O.P. CD. The musicians sound quite enthusiastic and creative within the boundaries of straight-ahead jazz, showing that they had not run out of ideas yet. Jolly alternates hot pieces with ballads, standards with obscurities. 

It is a particular pleasure to hear the powerful pianist interpret such rarely performed songs as George Wallington's "Variations," "Crazeology," Al Cohn's brooding ballad "Ah-Moore" and Shorty Rogers' "Diablo's Dance." Other highlights of the enjoyable set include Horace Silver's "Yeah," "Lullaby of the Leaves" and Zoot Sims' "The Red Door." All those years of playing together have definitely paid off. ~ Scott Yanow  http://www.allmusic.com/album/yeah!-mw0000073454

Personnel: Pete Jolly (piano); Nick Martinis (drums); Chuck Berghofer (bass).

Yeah!

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Wallace Roney - Intuition

Styles: Trumpet Jazz

Year: 1988

File: MP3@320K/s

Time: 48:03

Size: 110,2 MB

Art: Front

(5:48)  1. Intuition

(5:45)  2. Opus One Point Five

(7:59)  3. Ahead

(5:54)  4. Taberah

(5:40)  5. Sometimes My Heart Cries

(8:28)  6. For Duke

(8:27)  7. Willow Weep for Me

For this somewhat adventurous but still mostly straight-ahead date, trumpeter Wallace Roney explores three of his originals (including "For Duke," which is slightly reminiscent of "Upper Manhattan Medical Group"), two by drummer and underrated composer Cindy Blackman, and one by bassist Ron Carter. Roney, Blackman and Carter are joined by pianist Mulgrew Miller, tenor saxophonist Gary Thomas and altoist Kenny Garrett (quite an all-star group), and the music is as strong as one would expect, reflecting Roney's long stint with the Tony Williams Quintet. ~ Scott Yanow  http://www.allmusic.com/album/intuition-mw0000652207

Personnel: Wallace Roney (trumpet), Kenny Garrett (alto saxophone), Gary Thomas (tenor saxophone), Mulgrew Miller (piano), Ron Carter (bass), Cindy Blackman (drums).

Intuition

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Kenny Davern - A Night With Eddie Condon

Bitrate: MP3@320K/s
Time: 72:39
Size: 166.3 MB
Styles: Clarinet jazz, Swing
Year: 1971/2006
Art: Front

[7:31] 1. At The Jazz Band Ball
[4:07] 2. Rosetta
[6:51] 3. Royal Garden Blues
[5:55] 4. Ain't Misbehavin'
[7:28] 5. Jazz Me Blues
[3:34] 6. Rose Of Washington Square
[4:56] 7. Muskrat Ramble
[4:57] 8. I Can't Get Started
[6:45] 9. China Boy
[7:28] 10. Rose Room
[5:22] 11. That's A-Plenty
[7:38] 12. St. Louis Blues

Though never an influential guitarist (he rarely soloed and frequently went silent altogether), Eddie Condon exerted a significant influence on jazz by virtue of the bands he led and his imposing stage presence. An acerbic wit and talented raconteur, Condon was, at his peak, a very popular figure on the Chicago jazz scene. His style of playing is closely associated with that city, though it will sound an awful lot like vintage New Orleans jazz to neophyte listeners. This live recording was made in a high school gym in Syracuse, NY, in April of 1971; the original reel-to-reel tapes were discovered in a basement and remastered before they could deteriorate further than they had. The resulting sound is acceptable, but the playing is brilliant. On this night, Condon was leading a sextet that featured Kenny Davern on clarinet and soprano sax, Bernie Privin on trumpet, Lou McGarity on trombone, and a rhythm section consisting of the exceptional pianist Dill Jones, bassist Jack Lesberg, and drummer Cliff Leeman. The band's renditions of such traditional jazz classics as "Ain't Misbehavin'," "Muskrat Ramble," and "St. Louis Blues" are infused with light and heat, tremendously energetic and yet loosely swinging. Davern and Privin are both in especially fine form on "Royal Garden Blues." Highly recommended to fans of traditional jazz. ~Rick Anderson

A Night With Eddie Condon 

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Steely Dan - 2 albums: Gaucho / Everything Must Go

Album: Gaucho
Bitrate: MP3@320K/s
Time: 37:48
Size: 86.6 MB
Styles: Album rock, Jazz-rock
Year: 1980/2000
Art: Front

[5:50] 1. Babylon Sisters
[5:05] 2. Hey Nineteen
[7:27] 3. Glamour Profession
[5:30] 4. Gaucho
[4:10] 5. Time Out Of Mind
[4:32] 6. My Rival
[5:12] 7. Third World Man

Aja was cool, relaxed, and controlled; it sounded deceptively easy. Its follow-up, Gaucho, while sonically similar, is its polar opposite: a precise and studied record, where all of the seams show. Gaucho essentially replicates the smooth jazz-pop of Aja, but with none of that record's dark, seductive romance or elegant aura. Instead, it's meticulous and exacting; each performance has been rehearsed so many times that it no longer has any emotional resonance. Furthermore, Walter Becker and Donald Fagen's songs are generally labored, only occasionally reaching their past heights, like on the suave "Babylon Sisters," "Time Out of Mind," and "Hey Nineteen." Still, those three songs are barely enough to make the remainder of the album's glossy, meandering fusion worthwhile. ~Stephen Thomas Erlewine

Gaucho

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Album: Everything Must Go
Bitrate: MP3@320K/s
Time: 42:05
Size: 96.3 MB
Styles: Jazz-rock, Contemporary pop-rock
Year: 2003
Art: Front

[3:33] 1. The Last Mall
[3:57] 2. Things I Miss The Most
[4:25] 3. Blues Beach
[4:55] 4. Godwhacker
[4:12] 5. Slang Of Ages
[5:53] 6. Green Book
[3:58] 7. Pixeleen
[4:24] 8. Lunch With Gina
[6:43] 9. Everything Must Go

When Steely Dan released Two Against Nature in 2000, their first album in 20 years, it was an unexpected gift, since all odds seemed against Donald Fagen and Walter Becker reteaming for nothing more than the occasional project, let alone a full album. As it turned out, the duo was able to pick up where they left off, with Two Against Nature seamlessly fitting next to Gaucho and earning the band surprise success, including a Grammy for Album of the Year, but the bigger surprise is that the reunion wasn't a one-off -- they released another record, Everything Must Go, a mere three years later. Given the (relatively) short turnaround time between the two records, it comes as little surprise that Everything Must Go is a companion piece to Two Against Nature, and sounds very much like that album's laid-back, catchy jazz-funk, only with an elastic, loose feel -- loose enough to have Walter Becker take the first lead vocal in Steely Dan history, in fact, which sums up the Dan's attitude in a nutshell. This time, they're comfortable and confident enough to let anything happen, and while that doesn't really affect the sound of the record, it does affect the feel. Though it as expertly produced as always, there's less emphasis on production and a focus on the feel, often breathing as much as a live performance, another new wrinkle for Steely Dan. Sometimes, it also sounds as if Becker and Fagen have written the songs quickly; there's nothing that betrays their high standards of craft, but, on a whole, the songs are neither as hooky nor as resonant as the ones unveiled on its predecessor. While it might have been nice to have a song as immediate as, say, "Cousin Dupree," there are no bad songs here and many cuts grow as nicely as those on Two Against Nature. But the real selling point of Everything Must Go is that relaxed, comfortable, live feel. It signals that Steely Dan has indeed entered a new phase, one less fussy and a bit funkier (albeit lite funk). If they can keep turning out a record this solid every three years, we'd all be better off. ~Stephen Thomas Erlewine

Everything Must Go

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Eddie Fisher - Greatest Hits

Bitrate: MP3@320K/s
Time: 37:53
Size: 86.7 MB
Styles: Vocal
Year: 2001
Art: Front

[2:40] 1. Thinking Of You
[2:36] 2. Anytime
[2:32] 3. Tell Me Why
[2:48] 4. I'm Yours
[2:54] 5. Wish You Were Here
[2:48] 6. Maybe
[3:02] 7. Lady Of Spain
[2:21] 8. Downhearted
[3:04] 9. I'm Walking Behind You
[2:28] 10. Many Times
[3:04] 11. Oh! My Pa-Pa (O Mein Papa)
[2:29] 12. I Need You Now
[2:25] 13. Count Your Blessings (Instead Of Sheep)
[2:35] 14. Heart

During his heyday in the 1950's Eddie Fisher's popularity would rival such legendary performers as Frank Sinatra, Tony Bennett and his labelmate at RCA records Perry Como. In that decade Eddie Fisher would place more than 50 singles on Billboard's "Best Selling Singles" chart. More impressively, he would amass a total of more than two dozen Top 20 hits. Yes, Eddie Fisher really was the #1 idol of the bobbysoxer generation in the pre-rock years of the early 1950's. Now RCA records pays tribute to one of their most popular artists of all-time with the 2001 release "Eddie Fisher: Greatest Hits". This extraordinary collection was issued as part of RCA's 100th Anniversary series. ~Paul Tognetti

Greatest Hits

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Jan Lundgren - Stockholm Get-Together!

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 65:37
Size: 155,3 MB
Art: Front

(5:16)  1. Conception
(5:32)  2. Born To Be Blue
(5:40)  3. Jan's Idea
(6:08)  4. When You're Not Here
(5:43)  5. Bankin' On Bank
(4:42)  6. Emily
(5:41)  7. Triste
(5:53)  8. Easy To Love
(5:03)  9. Tickletoe
(5:38) 10. 'Round Midnight
(4:51) 11. Landscape
(5:27) 12. Blues For Jordi

Although veteran American altoist Herb Geller is the main star of this set (and is featured on every selection), Stockholm Get-Together! is most significant in introducing the playing of Swedish pianist Jan Lundgren to the greater jazz world. Lundgren has no difficulty on the faster pieces and he shows plenty of feeling on the ballads. Geller, who moved to Europe in the early '60s, became obscure in the U.S. but played very regularly in the decades since he left and has become a giant of the alto, even better than he was in the 1950s. With bassist Lars Lundstrom and drummer Anders Langerlöf providing fine backup, Geller and Lundgren make for a highly complementary team on seven jazz standards and five group originals. This set is easily recommended as proof that Herb Geller was very much in his prime in the 1990s, and that Jan Lundgren was an up-and-coming modern mainstream pianist. ~ Scott Yanow  http://www.allmusic.com/album/stockholm-get-together!-mw0000416069

Personnel: Jan Lundgren (piano); Herb Geller (alto saxophone);  Lars Lundstrom (bass);  Anders Langerlöf  (drums).

Stockholm Get-Together!

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Aimée Allen - L'Inexplicable

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 39:56
Size: 92,2 MB
Art: Front

(4:42)  1. Qu'est-Çe Qu'on Est Bien Ici
(4:21)  2. Femme D'Ebène
(4:17)  3. Jardin D'Hiver
(3:09)  4. L'Inexplicable
(3:53)  5. Fin De Septembre
(5:27)  6. Les Nuages
(4:17)  7. Pulsé
(4:42)  8. What The Senses Know
(5:04)  9. Scènes De Ménage

Aimée Allen’s intimate connection with music began as a child. Her childhood was quite literally scored with classic jazz, because of her mother’s intense love of the music. The influence of the jazz tradition can be heard in Aimée’s musical style and interpretation choices. But Aimée’s listeners can also hear her individual voice, nuanced and sparkling with soul and sensuality. Singing came early for Aimée. But she first began to sing professionally as a college student. At Yale University Aimée was an active member and soloist with two a cappella singing groups performing a jazz repertoire. After graduation, Aimée lived in Paris and performed regularly in clubs and at music festivals. There, her understanding of the place of jazz in the world deepened and her interpretive style began to flourish.

The intense relationship between the francophone audience in Paris and Brazilian bossa nova, long one of Aimée’s musical loves, led Aimée to form a group dedicated to bossa and jazz: Les Bossa Novices. Aimée performed frequently in and outside of Paris with Les Bossa Novices. As part of New York’s jazz community for the past few years, Aimée has continued to navigate traditional and modern jazz, infusing her craft with a personal and intimate style. In addition to selections from the great American songbook, Aimée sings some not-so-standards, pays homage to Brazilian bossa, and frequently includes a French lyric. Her touch is always sincere and her sound authentic. Her singular voice and soul has garnered the love of many of the city’s best young musicians. Aimée's latest release, l'Inexplicable, is the fruit her trans-continental experiences in music and her talents as a writer. A jazz-pop fusion of Brazilian, African, and Latin rhythms, this solo album consists mostly of original songs written by Aimée, and sung in sexy, sonorous French.  http://www.cdbaby.com/cd/aimeeallen2

L'Inexplicable

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Tete Montoliu Trio - Catalonian Rhapsody

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 52:40
Size: 121,2 MB
Art: Front

(7:02)  1. The Lady From Aragon (La Dama d'Arago)
(7:44)  2. Catalonian National Anthem (Els Segadors)
(6:36)  3. Three Young Ladies (Hiru Damatxu)
(6:56)  4. The Singing of the Birds (El Cant dels Ocells)
(6:28)  5. Song of the Robber (La Canco del Lladre)
(4:51)  6. Words of Love (Paraules d'Amor)
(4:50)  7. Don't Smoke Anymore (Ja no Fumo)
(8:10)  8. My Street (El meu Carrer)

This wonderful studio date by the talented Catalonian blind pianist Tete Montoliu (1933-1997) was recorded in his native Barcelona in March of 1992, but until now it had been only available on a long out of print CD issued in Japan by the Alfa Jazz label shortly after being recorded. The renowned Venus label presents it back again for everyone to enjoy. Tete is backed by New Orleans drummer Idris Muhammad, and Netherlands born bassist Hein Van de Geyn, and the program features a selection of Catalan traditional songs, plus two versions of songs by the remarkable Joan Manuel Serrat (“Words of Love”, which Tete recorded on several other occasions, and the more seldom heard “My Street”), and one Montoliu original, "I Don't Smoke Anymore".

Personnel:  Tete Montoliu (piano);  Hein Van de Geyn (bass);  Idris Muhammad (drums)

Catalonian Rhapsody

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Dion - Rock n' Roll Christmas

Styles: Rock N'Roll, Christmas

Year: 1993
File: MP3@224K/s
Time: 42:16
Size: 68,2 MB
Art: Front

(2:33)  1. Rockin Around The Christmas Tree
(3:22)  2. I Saw Mommy Kissing Santa Claus
(2:15)  3. Jingle Bell Rock
(5:00)  4. Santa Claus Is Coming To Town
(3:54)  5. White Christmas
(3:56)  6. Silent Night / What Christmas Means
(3:49)  7. Christmas (Baby Please Come Home)
(3:44)  8. Winter Wonderland
(4:00)  9. Please Come Home For Christmas
(2:23) 10. Rudolf The Red Nosed Reindeer
(3:27) 11. Merry Christmas Baby
(3:47) 12. O Holy Night

A dozen seasonal standards rendered in a mid-tempo Springsteen mode. Competent, fun, but not exactly what you would call inspirational. ~ Roch Parisien  http://www.allmusic.com/album/rock-n-roll-christmas-mw0000626533

Bridging the era between late-'50s rock and the British Invasion, Dion DiMucci (born July 18, 1939) was one of the top white rock singers of his time, blending the best elements of doo wop, teen idol, and R&B styles. Some revisionists have tried to cast him as a sort of early blue-eyed soul figure, although he was probably more aligned with pop/rock, at first as the lead singer of the Belmonts, and then as a solo star. Drug problems slowed him down in the mid-'60s, yet he made some surprisingly interesting progressions into blues-rock and folk-rock as the decade wore on, culminating in a successful comeback in the late '60s, although he was unable to sustain its commercial and artistic momentum for long. When Dion began recording in the late '50s, it was as the lead singer of a group of friends who sang on Bronx street corners.

 Billing themselves as Dion & the Belmonts (Dion had released a previous single with the Timberlanes), their first few records were prime Italian-American doo wop; "I Wonder Why" was their biggest hit in this style. His biggest single with the Belmonts was "A Teenager in Love," which pointed the way for the slightly self-pitying, pained odes to adolescence and early adulthood that would characterize much of his solo work. Dion went solo in 1960 (the Belmonts did some more doo wop recordings on their own), moving from doo wop to more R&B/pop-oriented tunes with great success. He handled himself with a suave, cocky ease on hits like "The Wanderer," "Runaround Sue," "Lovers Who Wander," "Ruby Baby," and "Donna the Prima Donna," which cast him as either the jilted, misunderstood youngster or the macho lover, capable of handling anything that came his way (on "The Wanderer" especially). In 1963, Dion moved from Laurie to the larger Columbia label, an association that started promisingly with a couple of big hits right off the bat, "Ruby Baby" and "Donna the Prima Donna." By the mid-'60s, his heroin habit (which he'd developed as a teenager) was getting the best of him, and he did little recording and performing for about five years. When he did make it into the studio, he was moving in some surprisingly bluesy directions; although much of it was overlooked or unissued at the time, it can be heard on the Bronx Blues reissue CD. In 1968, he kicked heroin and re-emerged as a gentle folk-rocker with a number four hit single, "Abraham, Martin and John." 

Dion would focus upon mature, contemporary material on his late-'60s and early-'70s albums, which were released to positive critical feedback, if only moderate sales. The folk phase didn't last long; in 1972 he reunited with the Belmonts and in the mid-'70s cut a disappointing record with Phil Spector as producer. He recorded and performed fairly often in the years that followed (sometimes singing Christian music), to indifferent commercial results. But his critical rep has risen steadily since the early '60s, with many noted contemporary musicians showering him with praise and citing his influence, such as Dave Edmunds (who produced one of his periodic comeback albums) and Lou Reed (who guested on that record). Dion continued to be active as the 21st century opened, releasing Déjà Nu in 2000, Under the Influence in 2005, and Bronx in Blue in 2006. His first major-label album since 1989's Yo Frankie, entitled Son of Skip James, was released by Verve in 2007, while 2008's Heroes: Giants of Early Guitar Rock saw him tackling 15 songs from the classic rock & roll era. Influenced by a conversation with rock critic Dave Marsh about his long and still relevant career, and a dare from his wife Susan to prove it, Dion cut Tank Full of Blues, producing and playing the guitars on the recording himself and writing or co-writing all but one track on the set. Issued on Blue Horizon, it is the final recording in the trilogy that began with Bronx in Blue. ~ Richie Unterberger  https://itunes.apple.com/us/artist/dion/id275360#fullText

Personnel: Dion MiMucci (vocals, acoustic & electric guitar); Johnny Sambataro (acoustic & electric guitar, background vocals); Jamie "King" Cotton (saxophone, synthesizer); Paul Harris (accordion, synthesizer, keyboards); Gabe Vales (bass, background vocals); Tony Lavender (drums, background vocals); Chuck Kirkpatrick (background vocals).

Rock n' Roll Christmas

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David Benoit Trio - Believe (Feat. Jane Monheit)

Size: 100,5 MB
Time: 36:41
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals, Xmas
Art: Front

01. Santa Claus Is Coming To Town (Live) (3:33)
02. Believe (Live) (4:52)
03. Christmas Waltz (Live) (3:55)
04. Christmas Time Is Here (Live) (3:07)
05. Guaraldi Medley (Live) (8:25)
06. My Favorite Things (Live) (3:47)
07. Just Like Me (Live) (3:56)
08. My Little Drum (Live) (2:33)
09. The Christmas Song (Live) (2:30)

GRAMMY®-nominated pianist/composer/arranger David Benoit and GRAMMY®-nominated vocalist Jane Monheit continue their synergy from 2 In Love to create Believe, a Christmas album full of holiday favorites that will inspire and warm the heart throughout the holiday season. Renowned jazz flautist, Tim Weisberg and The All-American Boys Chorus are featured on the album as well. The All-American Boys Chorus, America s quintessential professional boys chorus, has delighted audiences worldwide for over forty years. Based in Costa Mesa, California, the Chorus is comprised of over 100 boys ages 8-15 drawn from throughout Southern California. Under the leadership of Artistic Director Wesley Martin, a veteran of Hungary s renowned Kodaly Institute, the Chorus provides boys with comprehensive musical training and unsurpassed performance and touring opportunities.

Believe

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Steve Smith, Tony Monaco, Vinny Valentino - Groove: Blue

Size: 113,8 MB
Time: 49:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hammond Organ
Art: Front

01. The Brush Off (6:20)
02. On Green Dolphin Street (4:37)
03. Cherokee (5:42)
04. It's Only A Paper Moon (6:00)
05. I Remember Jimmy (4:35)
06. Indonesian Nights (5:31)
07. Bugalulu (5:09)
08. Slingshot Blues (5:29)
09. That's All (5:35)

Personnel:
Tony Monaco: Organ
Vinny Valentino: Guitar
Steve Smith: Drums

We owe the existence of this precious jewel to a chance encounter in Indonesia's capitalJakarta in March, 2011. Drummer Steve Smith and guitarist Vinny Valentino decided to go for a nightcap after playing the Java Jazz Festival with their band Vital Information. As they approached the lounge bar, they heard the sound of a wild swinging electric organ. Wondering “who the hell was swinging that hard on the B3,” they walked in and saw Tony Monaco, an “unsung hero” of the instrument. Few people knew Monaco, though he had been promoted by organ legend Jimmy Smith and had spent two years touring with jazz guitarist Pat Martino. Smith and Valentino made their way through the crowd and asked if they could join in. They proceeded to spend the rest of the night jamming together, later joined by festival greats George Benson and Roy Hargrove. Five months later, fate once again intervened. Smith and Valentino had been booked for Drum Fantasy Camp, an annual drum camp in Cleveland Ohio. Tony Monaco lived close by in Columbus, a modest 230 km drive away. A spontaneous phone call resulted in a car journey and resulted in the three of them playing in Monaco’s small home studio. Steve borrowed a small jazz drum kit from a friend of Tony as his own didn’t fit in the car. Valentino plugged his guitar into the only available amplifier and they were off. They worked so well together that they decided to record an album. One and a half days later, the recording was in the can! To get a sense of the style of this album, think of the classic Blue Note organ trios of the '60s. These true musos effortlessly inject a 50-year-old sound into their own compositions, adding a few specially arranged jazz standards along the way. Those standards include the legendary 1958 Miles Davis version of "On Green Dolphin Street," where Smith’s zestful drumming gives a distinct Latin feeling. The group also covers Ray Nobles' "Cherokee," gently modernised with a funky groove. Nat King Cole’s immortal "It's Only A Paper Moon," from the Broadway musical "The Great Magoo," retains a timeless swing but with a walking pedal bass from the Hammond organ. The album winds down with a gentle version of "That's All,"an unforgettable ballad from the Great American Songbook. Although Smith, Monaco and Valentino had virtually no time for rehearsals, they harmonise on "Groove: Blue" as if they’d known each other all their lives.

Groove: Blues

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Ira Hill - Tomorrow

Size: 106,9 MB
Time: 46:01
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Pop/Latin Vocals
Art: Front

01. Afro Blue (Feat. Alex Acuna) (3:36)
02. I'll Remember April (Feat. Doug Webb) (4:40)
03. Minuano (6:39)
04. Estate (6:22)
05. Cloudburst (2:37)
06. Tomorrow's Another Day (4:28)
07. My Funny Valentine (Feat. John Proulx) (6:16)
08. Billie's Bounce (4:02)
09. Moody's Mood For Love (Feat. Cheryl Bentyne) (3:43)
10. You've Proven Your Point (3:33)

Young, ambitious and talented, Ira Hill launches his debut recording Tomorrow with a selection of swinging numbers that combine scat, jazz, blues, adult pop, and Latin rhythms. Produced by Cheryl Bentyne from Manhattan Transfer, Hill makes these songs his own as he embraces the multiple levels of the jazz spectrum, channeling Ella Fitzgerald's stylized scat, the heavenly bossa nova sweetness of Antônio Carlos Jobim, and the swinging cabaret blues of Frank Sinatra. Hill becomes the vessel by which the music of his predecessors relives and thrives in contemporary times.

Tracks like "My Funny Valentine" and "Minuano" have an adult pop finesse, shrouding Hill's vocal glides in silky atmospherics. His intonation caresses the melodic progressions as he personalizes each piece with expressive inflections that call to the listener's attention. His songs aren't background music but draw listeners into the melodies, holding his audience captive. "Estate" is another attractive track with a bossa nova vibe in the rhythm section as Hill sings the lyrics in Spanish.

His scatting vocals might remind listeners of the genre's architects Ella Fitzgerald and Cab Calloway but Hill takes the music form and makes it his own. The spontaneous strut of his vocals in numbers like "Billie's Bounce" and "Cloudburst" has a mesmerizing swag, identifying Hill as the architect behind the rhythmic bounce of his vocal notes. Bluesy tracks like "Moody's Mood for Love" and "Tomorrow's Another Day" move comfortably as though these songs were made for Hill, tailored to his register and natural inclination to gracefully slide his vocals. The up-swinging vamps of "I'll Remember April" and "You've Proven Your Point" elevate the recording to an animated splashing that will remind audiences of the jovial Sammy Davis, Jr. as Hill follows an innate impulse to know when to add thrust into his delivery.

Hill puts his trust in the intuitive impulses which direct his vocals so the songs fit well in his register, taking his cue from the bastion of jazz vocalists who came before him, guided by their own inner voice. He went into the recording intent to make it his own, looking to his vocal engine which has a customized finish to distinguish him from the flock. Ira Hill aced his debut recording, leaving an audience wanting more. ~By Susan Frances

Musicians: Ira Hill - vocals, John Proulx - piano, Kevin Axt - bass, Dave Tull - drums, Craig Fundyga - vibes, Doug Webb - saxophone, Alex Acuña - percussion, Ramon Stagnaro - guitar, Cheryl Bentyne - vocals

Tomorrow

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Rob Van Bavel - The Christmas Three

Size: 118,1 MB
Time: 50:40
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz, Xmas
Art: Front

01. I'm Dreaming Of A White Christmas (5:25)
02. Silent Night (5:08)
03. Jingle Bells (4:41)
04. Winter Wonderland (4:15)
05. Santa Claus Is Coming To Town (5:08)
06. Driving Home For Christmas (5:09)
07. Boxing Day Blues (6:31)
08. God Rest Ye Merry Gentlemen (4:53)
09. The Christmas Song (5:03)
10. We Wish You A Merry Christmas (4:23)

Personnel:
Rob van Bavel: Piano
Stefan Lievestro: Bass
Hans Van Oosterhout: Drums

Rob van Bavel (16-1-65, Holland) Pianist, educator, composer/arranger.Jazz (bebop – modern), fusion, classical

Graduated in 1987 at the Rotterdam Conservatory with the highest possible mark (A with distinction). He won several awards, a.o. The second prize at the first “Thelonious Monk Jazzpiano Competition” (Washington D.C.) , soloist awards in Germany/Belgium, the Wessel Ilcken award (Holland) and the dutch grammy (Edison) for the cd “Rob van Bavel trio”. Released more than 100 cd’s as a sideman and as leader: The Ghost, the King and I, Rob van Bavel Octet and Rob van Bavel Trio. Toured all over Europe, Canada, USA, Japan, Vietnam, Indonesia, South Korea and Siberia; played regularly with Woody Shaw, Randy Brecker, Johnny Griffin, Gary Willis a.o. Several masterclasses in South Korea, Liechtenstein, Spain and Holland.

Nowadays working as a teacher at the Rotterdam Conservatory (Codarts) and the Amsterdam Conservatory.

The Christmas Three

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Dazie Mae - Froth On A Daydream

Size: 121,4 MB
Time: 50:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Pop Vocals
Label: Can't Be Serious Records
Art: Front

01. Avant-Propos En Fa Majeur (1:53)
02. Froth On A Daydream (3:26)
03. King Nicolas (4:39)
04. Musk-Antler Bangers (2:38)
05. Froth On A Drinking Day (2:30)
06. Swinging Life And More (3:11)
07. Do The Squint (2:51)
08. You Know John Pulse Heartre (2:29)
09. Just Like That (0:59)
10. March In June (2:40)
11. Interlude (0:45)
12. Single Flower In Her Chest (3:58)
13. Work Is Not For Me (2:11)
14. Changing Shapes All Around Us (2:34)
15. The House Is Shrinking (1:37)
16. Into The Darkest Night (1:50)
17. Fall Asleep Forever (2:51)
18. The Zero Hour (2:34)
19. Waltz For Chloe (3:13)
20. The End A Mouse's Lament (1:19)

Personnel:
Vocals: Miss Jane
Piano, keyboards & harmonica: "Hairy Mat" Daval
Guitars & banjo: Tom La Meche
Bass: Serge Dejazz
Drums: Olivier Boeuf

Dazie Mae is a French band created in Paris in the mid 00s. The band started with a cover project of US and UK songs from the late sixties and early seventies, under the name "D15H".

In 2009, their first album "Velvet Dress & Stockings" is released under the independent label Can't Be Serious Records. The single "Sofa" is used by luxury brand Dior for in-door advertising, by American stylist Andrew Christian, as well as by Swedish movie director Erika Lust for her movie "Cabaret Desire", and by Arte/RTBF-produced documentary "The Kangaroo Complex".

In 2012 and 2013, the song "Sad, Depressed & Lonely" from the album "Songs Matured in Oak" is one of French national radio FIP's selections. "Time with my lover", from the same album, appears in director Malik Barnhardt's movie "C'est la vie" (2014).

Their 4th LP, "Froth on a daydream" (2015), is freely inspired by Boris Vian's cult novel "L'Ecume des jours".

Froth On A Daydream

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The Solomon Douglas Swingtet - Ain't No School Like Old School

Bitrate: MP3@320K/s
Time: 57:06
Size: 130.7 MB
Styles: Big band
Year: 2011
Art: Front

[2:58] 1. King Porter Stomp
[2:06] 2. Clap Hands! Here Comes Charley!
[2:36] 3. Long Tall Mama
[3:41] 4. Bizet Has His Day
[3:32] 5. New Orleans Bump
[5:43] 6. Blues In The Air
[4:26] 7. Egyptian Fantasy
[2:55] 8. Queer Notions
[4:05] 9. The Mooche
[3:12] 10. Tuxedo Junction
[3:07] 11. Rose Room
[3:51] 12. Avalon
[2:59] 13. Cotton Tail (Fast)
[2:46] 14. Cotton Tail (Faster)
[3:45] 15. That's How Rhythm Was Born
[2:59] 16. Casa Loma Stomp
[2:16] 17. White Heat

The Solomon Douglas Swingtet is a ten-piece dance band whose repertoire is rooted in that of the Basie band and that of the Ellington band, with other big-band standards and classic jazz tunes thrown in as well. The band makes frequent appearances at the Century Ballroom (Seattle, WA) and at the Glen Echo Spanish Ballroom (Washington, DC), and plays at Lindy Hop, Blues, and Balboa dance events all over North America. The Solomon Douglas Swingtet released its first CD, "Swingmatism," in 2006; its second CD, "Live at the Legion," in 2009; and its third CD, "Ain't No School Like the Old School" in April of 2011.

Ain't No School Like Old School

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Ernie Henry, Kenny Dorham - Ernie Henry Meets Kenny Dorham

Bitrate: MP3@320K/s
Time: 76:32
Size: 175.2 MB
Styles: Bop, Saxophone jazz
Year: 2012
Art: Front

[3:23] 1. Gone With The Wind
[5:08] 2. Orient
[5:48] 3. Free Flight
[5:53] 4. Checkmate
[8:22] 5. Cleo's Chant
[5:07] 6. I Should Care
[5:01] 7. Active Ingredients
[5:22] 8. Lotus Blossom
[2:56] 9. Soon
[4:24] 10. The End Of A Love Affair
[4:22] 11. I'll Be Seeing You
[6:34] 12. Noose Bloos
[6:13] 13. 'sposin'
[4:41] 14. Is It True What They Say About Dixie
[3:11] 15. Jazz-Classic

Kenny Dorham (tp), Ernie Henry (as), Kenny Drew (p), Wilbur Ware, Eddie Mathias (b), Art Taylor, Granville T. Hogan (d). Tracks #1-7 from the 12" Riverside LP "Presenting Ernie Henry" (RLP 12-222). Later reissued as Jazzland JP-982. Tracks #8-15 from the Kenny Dorham 12" Riverside album "2 Horns/2 Rhythm" (RLP 12-255).

By 1956 the trumpet of Kenny Dorham was recognized as one of the most exciting and swinging; he had become one of the key voices in modern jazz. He had gone through the years from his first prominence in the Hampton, Eckstine, and Gillespie bands, to the Charlie Parker and Art Blakey groups always respected and admired, but never winning any polls and never going out after individual fame as a leader.

In these recordings he introduced his friend Ernie Henry, a gifted alto player and jazz writer, with a firm command of his instrument, a fresh sound, and more than his share of legitimately new ideas. He had been a part of the bop scene of the late 1940s, and had appeared on records with Tadd Dameron, Fats Navarro, and Howard McGhee. His moment had arrived: he was fully ready to be heard and enjoyed by as many as would give themselves that privilege.

That Kenny and Ernie were close transpires in the sound they achieve together. It involves the kind of rapport that not even the best musicians can hope to establish quickly and easily: the fact is that Kenny and Ernie had known each other for a long time and had worked out extensively in the Henry basement, although this was their first opportunity to demonstrate in a recording studio their cohesive playing and thinking.

Ernie Henry Meets Kenny Dorham

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Kay Starr - Losers, Weepers

Bitrate: MP3@320K/s
Time: 31:42
Size: 72.6 MB
Styles: Jazz vocals
Year: 1960/2011
Art: Front

[2:49] 1. You Always Hurt The One You Love
[2:20] 2. I Should Care
[2:40] 3. I'm A Fool To Care
[2:26] 4. Don't Take Your Love From Me
[2:05] 5. When I Lost You
[2:43] 6. Only Forever
[3:16] 7. Gonna Get A Guy
[2:52] 8. Please Don't Talk About Me When I'm Gone
[2:29] 9. I Miss You So
[2:49] 10. A Faded Summer Love
[3:15] 11. When A Woman Loves A Man
[1:52] 12. Into Each Life Some Rain Must Fall

Kay Starr has always considered herself a “saloon singer” who told a story with each song, and is critically recognized for the power and emotion of her singing style. Long respected by the jazz community, and considered a favorite and influence by many of yesterday and today’s greats, Kay is truly a gifted and unique performer who has made a success of every musical genre she has tackled. Whether jazz, pop, country or R&B, Kay has done it all and marvelously. With recent compact disc re-issues of her classic albums and singles Kay’s work has seen a resurgence and begun to delight new audiences who are just discovering, or rediscovering, her great talents and style. As for the woman herself, Kay continues to dazzle audiences and critics in her concert appearances, and we look forward to having her do so for many more years to come. ~Matthew C. Foley

Losers, Weepers

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