Chris Potter - The Sirens

Styles: Clarinet And Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 63:42
Size: 146,4 MB
Art: Front

(8:49)  1. Wine Dark Sea
(6:52)  2. Wayfinder
(7:26)  3. Dawn (With Her Rosy Fingers)
(8:39)  4. The Sirens
(7:16)  5. Penelope
(8:26)  6. Kalypso
(5:43)  7. Nausikaa
(8:15)  8. Stranger At The Gate
(2:12)  9. The Shades

The Sirens is Chris Potter's debut as a leader for ECM but he’s no stranger to the label. He recorded as a member of Dave Holland's band, and collaborated with Paul Motian and Jason Moran on Lost in a Dream. The saxophonist’s quintet here includes pianist Craig Taborn a member of Potter's electric ensemble Underground bassist Larry Grenadier, drummer Eric Harland, and the relatively unknown David Virelles, texturing the proceedings on prepared piano, celeste, and harmonium. Creating a concept album as your first offering for a new label is a brave endeavor, but Potter rises to it. The Sirens is inspired by his re-reading of Homer's The Odyssey; he was moved by the enduring qualities of humanity in that epic, and wrote the entire album in two weeks. Potter's inherent lyricism is evident from opener "Wine Dark Sea," that offers the feel of the first romantic, tentative steps when embarking on an adventure. After a brief intro, Grenadier sets a groove articulated by Taborn, whose painterly chords offer a palette for Harland.

When Potter commences the melody, that "sea" is wide open with possibility. His songlike quality is underscored by Taborn's beautiful fills and comps. Potter's tenor solo is warm, inviting, searching. "Dawn (With Her Rosy Fingers)" is introduced by Grenadier's melodic bassline and Taborn's tasteful coloration. When Potter enters, his lines become spidery, alternately inquisitive and emotionally expressive. On the title cut he plays both bass clarinet and tenor. Grenadier's bass is bowed and the sense of seductive foreboding is made plain, even as the lyric line remains mysterious and spare. The entire tune becomes a lament in revelation after the bassist's gorgeous argo solo. Potter's soprano soars in "Penelope," yet it remains, true to form, expressive of only what is necessary to communicate the music's dictates and not his considerable athleticism. The gentle sting provided by Harland and Taborn makes the tune irresistible. 

"Kalypso" is a taut post-bop tune with wonderful articulations from Harland, Taborn, and Grenadier locking it down even as they grow it out. The culmination of drama and sense of emotional homecoming expressed in "Stranger at the Gate" would have made it a fitting end piece were it not for the whispering duet between Virelles and Taborn on "The Shades" that gives the set its sense of rest and closure. Potter's vision and compositions on The Sirens never lose sight of his goal: portraying the eternal essence of humanity in the mythos of his subject; his poetic lyricism as a soloist, and his empathy as a bandleader are consummate. ~ Thom Jurek  http://www.allmusic.com/album/the-sirens-mw0002460494

Personnel: Chris Potter (bass clarinet, soprano saxophone, tenor saxophone); Craig Taborn (piano); David Virelles (prepared piano, celesta, harmonium); Larry Grenadier (double bass); Eric Harland (drums).

The Sirens

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Terry Blaine, Mark Shane, Allan Vache - Swingin' The Benny Goodman Songbook

Bitrate: MP3@320K/s
Time: 65:35
Size: 150.1 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[3:09] 1. After You've Gone
[4:11] 2. You Turned The Tables On Me
[3:17] 3. I Don't Know Why
[3:21] 4. Junk Man
[4:30] 5. Body And Soul
[3:08] 6. Would You Like To Take A Walk
[3:53] 7. Sweet Lelilani
[4:00] 8. More Than You Know
[3:06] 9. Miss Brown To You
[5:01] 10. I Wished On The Moon-Moonglow
[3:57] 11. Memories Of You
[2:48] 12. Lulu's Back In Town
[3:58] 13. Low Down
[4:50] 14. Time On My Hands
[3:37] 15. You Can't Stop Me From Loving You
[4:12] 16. Goodbye
[4:26] 17. On The Sunny Side Of The Street

Singer Terry Blaine, pianist Mark Shane, and clarinetist Allan Vaché had performed as a trio for several years at the Sacramento Jazz Jubilee before they decided to tour as a trio and perform music from the repertoire of Benny Goodman. It was a logical move for Vaché can closely emulate Goodman, Shane's main piano influence is Teddy Wilson, and Blaine is flexible enough to hint at Helen Ward, Martha Tilton, and Mildred Bailey while still sounding like herself. While most of these songs are familiar items played by Goodman regularly sometime during 1935-1939, there are a few ringers such as "I Don't Know Why," "Junk Man" (which Goodman recorded with Mildred Bailey in 1934), "Would You Like to Take a Walk," "Cause if Feel Lowdown," and "You Can't Stop Me From Loving You" plus a couple numbers that Goodman recorded with Billie Holiday. While most of the selections are taken as trios, "Sweet Leilani" and "Time on My Hands" are played as instrumentals and Vaché sits out on the duo rendition of "Cause I Feel Low Down." The music overall is quite delightful and would have been enjoyed by the King of Swing. This is one of Terry Blaine's finest recordings to date although all are quite worthwhile. ~Scott Yanow

Swingin' The Benny Goodman Songbook

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Erroll Garner - The Complete Concert By The Sea (3-Disc Set)

There’s no way Erroll Garner could have foretold, from his perch at the piano on a Monday evening almost exactly 60 years ago, that he was creating one of the most popular albums in jazz history. He probably didn’t even know tape was rolling.

But as he led his trio in a converted school auditorium in Carmel-by-the-Sea, Calif., Garner, 34, locked into a high creative gear, captivating an audience that wasn’t shy about showing its approval. “Everybody was so beautiful,” he said after the concert, which stretched past an hour and a half. Had there been a way to go longer, he added, “I would have been glad to, sincerely, because they made me feel like playing.”

“The Complete Concert by the Sea,” a new three-CD boxed set from Sony Legacy and Octave Music Publishing, greatly expands and improves on the original album. Produced by Ms. Geri Allen and Steve Rosenthal, it includes 11 previously unissued tracks from the concert — doubling the amount of music — along with long introductions by the promoter, Jimmy Lyons, and that postgame interview by Thornbury. A windfall and in some ways a revelation, the boxed set is just the first sign of a major archival effort around Garner that seems likely to raise his stature in the jazz pantheon, and to reaffirm his place in the lineage of jazz pianists.

Album: The Complete Concert By The Sea (Disc 1)
Bitrate: MP3@320K/s
Time: 59:47
Size: 136.9 MB
Styles: Piano jazz
Year: 2015

[0:37] 1. Announcement (Jimmy Lyons)
[5:04] 2. Night And Day
[5:13] 3. Spring Is Here
[4:23] 4. I'll Remember April
[4:45] 5. The Nearness Of You
[3:22] 6. Where Or When
[4:12] 7. Sweet And Lovely
[4:17] 8. Lullaby Of Birdland
[3:52] 9. Mambo Carmel
[3:48] 10. Teach Me Tonight
[3:56] 11. Will You Still Be Mine
[3:30] 12. I Cover The Waterfront
[4:37] 13. Bernie's Tune
[4:15] 14. How Could You Do A Thing Like That To Me
[3:49] 15. It's All Right With Me

The Complete Concert By The Sea (Disc 1)

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Album: The Complete Concert By The Sea (Disc 2)
Bitrate: MP3@320K/s
Time: 41:05
Size: 94.1 MB
Styles: Piano jazz
Year: 2015

[2:47] 1. 2nd Announcement (Jimmy Lyons)
[4:18] 2. They Can't Take That Away From Me
[6:40] 3. Autumn Leaves
[2:39] 4. S'wonderful
[6:03] 5. Laura
[3:28] 6. Red Top
[4:55] 7. April In Paris
[7:42] 8. Caravan
[2:29] 9. Erroll's Theme

The Complete Concert By The Sea (Disc 2)

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Album: The Complete Concert By The Sea (Disc 3)
Bitrate: MP3@320K/s
Time: 57:58
Size: 132.7 MB
Styles: Piano jazz
Year: 2015
Art: Front

[ 4:22] 1. I'll Remember April
[ 3:42] 2. Teach Me Tonight
[ 3:54] 3. Mambo Carmel
[ 6:33] 4. Autumn Leaves
[ 3:31] 5. It's All Right With Me
[ 3:23] 6. Red Top
[ 4:55] 7. April In Paris
[ 4:15] 8. They Can't Take That Away From Me
[ 4:14] 9. How Could You Do A Thing Like That To Me
[ 3:11] 10. Where Or When
[ 1:45] 11. Erroll's Theme
[14:08] 12. Post Concert Interview

The Complete Concert By The Sea (Disc 3)

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Art Pepper - Art in L.A. Cd 1 And Cd 2

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 49:46
Size: 117,1 MB
Art: Front

Cd 1
(6:59)  1. Whims of Chambers
(6:03)  2. Bijou The Poodle
(3:40)  3. Why Are We Afraid
(7:00)  4. Softly, As In A Morning Sunris
(7:19)  5. Rhythm-A-Ning
(5:07)  6. Diane
(6:58)  7. Gettin' Together
(6:37)  8. The Way You Look Tonight

Cd 2
Time: 36:59
Size: 87,8 MB

(3:39)  1. The Breeze And I
(7:45)  2. Without A Song
(4:14)  3. Long Ago And Far Away
(4:29)  4. Fascinatin' Rhythm
(5:48)  5. I Can't Believe That You're In
(4:40)  6. Webb City
(6:20)  7. Begin The Beguine

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers.

He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~ Scott Yanow  http://www.allmusic.com/artist/art-pepper-mn0000505047/biography

Art in L.A. Cd 1 And Cd 2

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Eric Alexander - Extra Innings

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 62:44
Size: 144,0 MB
Art: Front

(6:29)  1. Extra Innings
(6:18)  2. I Remember Britt
(7:03)  3. A Nightingale Sang In Berkley Square
(8:18)  4. Edward Lee
(8:21)  5. Sail Away
(7:24)  6. Easy Walker
(5:25)  7. You Leave Me Breathless
(6:06)  8. No Smoking
(7:17)  9. Come Sunday

A fine straight-ahead jazz saxophonist, Eric Alexander grew up in the state of Washington. He initially attended Indiana University, studying classical music as an altoist. However, he soon discovered jazz, switched to the tenor, and transferred to William Paterson College in New Jersey. After graduating, he moved to Chicago and gained important experience touring with Charles Earland while also becoming a fixture in local clubs. In 1991, Alexander placed second at the Thelonious Monk Institute's saxophone competition, finishing just behind Joshua Redman. In 1992, he relocated to New York and made his recording debut as a leader that year with a set for Criss Cross. Alexander was set to join Art Taylor's Wailers in 1995 when the drummer passed away. 

Influenced by Dexter Gordon and George Coleman, but gradually developing a more original sound, Alexander has also worked with Mel Rhyne, Cecil Payne, Kenny Barron, and Eddie Henderson, among others. Alexander recorded two additional sets as a leader for Criss Cross, was part of their Tenor Triangle session, and cut several heated CDs for Delmark, including one that he co-led with veteran tenor Lin Halliday. His 11th album, Man with a Horn, was licensed for U.S. release in 1999 by Milestone, which also issued the follow-up, The First Milestone, in 2000. 

Since that time, Alexander has kept busy releasing a steady slew of albums including Summit Meeting in 2002, Dead Center in 2004, Battle: Live at Smoke with alto saxophonist Vincent Herring, Temple of Olympic Zeus in 2007, Prime Time: In Concert in 2008, Revival of the Fittest in 2009, and Don't Follow the Crowd in 2011. In 2012, Alexander once again paired up with equally adept saxophonist Herring for the concert album Friendly Fire: Live at Smoke. Two years later, he paid homage to his adopted hometown of Chicago with the album Chicago Fire. ~ Scott Yanow  http://www.allmusic.com/artist/eric-alexander-mn0000184165/biography

Personnel:  Eric Alexander - Tenor Saxophone;  Harold Mabern – Piano;  Peter Washington – Bass;  Joe Farnsworth - Drums

Extra Innings

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Lola Albright - Dreamsville

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 36:37
Size: 84,4 MB
Art: Front

(3:11)  1. Two Sleepy People
(3:23)  2. Dreamsville
(3:09)  3. We Kiss In A Shadow
(3:19)  4. Brief And Breezy
(2:47)  5. You're Driving Me Crazy !
(2:42)  6. They Didn't Believe Me
(2:39)  7. Soft Sounds
(2:33)  8. Slow And Easy
(3:53)  9. It's Always You
(2:51) 10. Straight To Baby
(3:06) 11. Just You, Just Me
(2:58) 12. Sorta Blue

Fans of Peter Gunn know Lola Albright as nightclub singer Edie Hart on that classic Blake Edwards TV series. This crossover album shows that Albright's considerable charm and talent were strong enough to merit her (sadly short-lived) recording career. Albright has a sexy, breathy, and jazz-inflected vocal style that is comparable to Peggy Lee and Julie London, and Henry Mancini's cool West Coast-style charts complement her low-key voice perfectly. One of the real pleasures of this album is hearing the vocal versions to so many of the songs from Mancini's hugely successful Peter Gunn instrumental album mixed in with the usual supper-club suspects. With the noted exception of the title track, none of these Mancini vocal versions went on to become widely recorded, which is probably explained by their beatnik eccentricity (molded to fit the black-turtleneck, bongos, and espresso style of Mancini's music). The most eccentric of these is saved for last, as Sammy Cahn's lyric for "Sorta Blue" casts Albright as a depressive cooing about how her melancholia is so deep that even booze and drugs can't lift her dashed spirits. This album is a time capsule for sure, but it's a great one and it deserves to be reissued on CD, just as Lola Albright's acting career merits a second look. ~ Nick Dedina  http://www.allmusic.com/album/dreamsville-mw0000897077

Dreamsville

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Laurindo Almeida - The Look of Love

Styles: Guitar Jazz, Latin Jazz
Year: 1968
File: MP3@320K/s
Time: 30:12
Size: 69,5 MB
Art: Front

(2:28)  1. Windy
(3:06)  2. Angel Eyes
(2:26)  3. I Love You
(2:36)  4. Up, Up and Away
(3:12)  5. Don't Sleep in the Subway
(2:27)  6. The Look of Love
(3:13)  7. When I Look in Your Eyes
(2:54)  8. Alfie
(2:47)  9. A Beautiful Friendship
(2:26) 10. Simplicidade
(2:33) 11. My Own True Love

During a long and uncommonly productive career, Brazilian guitarist Laurindo Almeida achieved a ubiquity in popular music that has yet to be fully recognized. Largely responsible for the Brazilian/North American "samba jazz" that would eventually catch on in the form of a musical trend known as bossa nova, he played behind dozens of well-known pop vocalists and improved the overall texture of many a studio production ensemble. One credible estimate states that Almeida contributed to no less than 800 film soundtracks (among them The Old Man and the Sea, How the West Was Won, and Breakfast at Tiffany's), as well as countless TV scores. He also authored a series of guitar instruction books that are still in use worldwide. A master improviser and a skilled arranger as well as a brilliant interpreter of classical repertoire, he left for posterity superb recordings of works by J.S. Bach, Fryderyk Chopin, Claude Debussy, and Joaquín Rodrigo as well as a host of Brazilian composers including Heitor Villa-Lobos, Radamés Gnattali, and Alfredo Vianna. Almeida's own chamber compositions include a concerto for guitar and orchestra.

Laurindo Jose de Araujo Almeida Nobrega Neto was born in the village of Prainha near the Port of Santos in the state of São Paulo, Brazil, on September 2, 1917. He received his first musical instruction from his mother, a classically trained pianist, and credited her fondness for the music of Fryderyk Chopin as a primary influence. After observing his sister being given guitar lessons, "Lindo" borrowed her instrument and retreated to a barn where he taught himself to play entirely by ear, transferring what he'd heard his mother play on the piano to the strings of the guitar. Many years later he would declare his preference for the direct intimacy of the guitar as opposed to the more percussive piano. By the age of nine he had become uncommonly skilled and was well on the way to becoming a guitar virtuoso; it was then that he lost his father to typhoid fever. At 12 he relocated to São Paulo with his brother. He joined the Revolutionary Army at 15 and was wounded in a civil conflagration. While recuperating in a hospital he met Garoto, a nationally respected guitarist who was visiting to perform for the patients. Within a few years, Almeida would perform and record extensively with Garoto.

In 1935 Almeida moved to Rio de Janeiro, where he teamed up with singer and tenor guitarist Nestor Amaral and began working in radio while becoming active as a songwriter, arranger, and multi-instrumentalist and performing regularly at the Casino da Urea. He composed folk songs, fox trots, sambas, choros, waltzes, and comedic airs, and worked with a broad range of artists including choro master Pixinguinha. He also collected 78-rpm jazz records, and was especially fond of the way Fats Waller played the piano. In 1936, at the age of 19, he got a job (playing banjo for the most part so as to be heard) for half a year on the Cuyaba, a cruise ship that docked in every country along the coast of Europe from Spain to Germany. While visiting Paris he was able to hear Django Reinhardt and Stéphane Grappelli in person. In 1941 he played the Casino Copacabana, and switched over to the Casino Balneario da Urca the following year. It was there that he met a Portuguese ballerina named Natalia (Maria Miguelina Ferreira Ribeiro) in 1944 and married her shortly afterwards. More... ~ arwulf arwulf  http://www.allmusic.com/artist/laurindo-almeida-mn0000761478/biography

The Look of Love

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Victor Wood - 18 Greatest Hits

Size: 127,6 MB
Time: 54:02
File: MP3 @ 320K/s
Released: 2009
Styles: Pop Rock
Art: Front

01. Mr. Lonely (2:45)
02. Eternally (2:30)
03. Carmelita (2:31)
04. Malupit Na Pag-Ibig (2:19)
05. Cheryl Moana Marie (2:54)
06. Sweet Caroline (3:13)
07. Release Me (3:13)
08. I'm Sorry My Love (2:57)
09. Ibig Kong Magtapat (2:48)
10. I Went To Your Wedding (3:36)
11. Knock On Wood (2:43)
12. Sincerely (4:00)
13. In Despair (3:13)
14. A Tear Fel (2:29)
15. Iniibig Ko'y Nakatali Na (4:43)
16. Once More Chance (2:55)
17. Twilight Time (2:31)
18. The Great Pretender (2:33)

The album is dominated by remakes of American songs. The songs are mostly slow, and the music is mellow and soothing. In addition, Victor Wood's delivery throughout the album is also warm and soothing. He possesses a fine voice, and has much depth and fluidity. The original versions of these songs are excellent, of course, but Victor Wood stamps his own personality here, and makes the songs enjoyable and worthwhile.

Victor Wood was born on February 1, 1946 in Buhi, Camarines Sur, Philippines to Sgt. Kocky Wood and Rosario "Tiyang Saring" Nobleza. His mother was well known in Buhi and neighboring towns for selling herbal medications and perfumes. He studied and finished secondary school at Jose Abad Santos High. His voice earned him various titles, including Jukebox King and Plaka King. In the 1970s, his career bloomed. He loved the adulation and admiration of his fans and the media.

He and his family migrated to the US in the 70’s, where he co-owned four gasoline stations and was into real estate and landscaping. In addition, he managed the $i.5-million Palm Plaza Restaurant.

He ran for the Senate of the Philippines during the 2007 Philippine general election, under the KBL banner, but lost. ~Wikipedia

18 Greatest Hits

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Shoko Igarashi Organ Trio - Alarm Call

Size: 82,4 MB
Time: 35:24
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Hammond Organ, Post Bop
Art: Front

01. Tune One (5:55)
02. Afro Centric (5:36)
03. Alarm Call (6:20)
04. All Of You (5:54)
05. Vanity (3:28)
06. Pons (8:08)

Shoko Igarashi Organ Trio is a jazz trio that is based in NYC. The Shoko Igarashi Organ Trio’s “Alarm Call” proves that modern jazz can be full of life and vigor. Joyful, elegant, and full of bright colors “Alarm Call” simply astounds. -SKOPE Magazine

Shoko Igarashi Organ Trio is a jazz trio that is based in NYC. Shoko Igarashi, Tenor saxophone; Takafumi Suenaga ,Organ; Kazuhiro Odagiri, Drums. Recorded at Riro Muzik in Brooklyn, NY.

Alarm Call

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Rebecca Kilgore - Moonshadow Dance

Size: 128,3 MB
Time: 54:59
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. I Live In A Condo (3:41)
02. One Little Kiss (2:44)
03. The Day I Learned French (4:11)
04. In A World Made Small (3:25)
05. One More Time To Say Goodbye (4:16)
06. Aeolian Shade (3:17)
07. Swing Me Low (3:03)
08. Moonshadow Dance (3:24)
09. Birthday Song, Generic (2:14)
10. Cantando O Amor (3:05)
11. You Make It Look So Easy (3:10)
12. Um Minuto A Mais (3:27)
13. I'm Not Susceptible To Love (3:54)
14. To Have, To Hold, To Love (4:39)
15. Cantando O Amor (Reprise) (3:24)
16. That's It! (2:56)

The new CD features original jazz songs produced through a unique collaboration between Ellen Vanderslice, Mike Horsfall, and Rebecca Kilgore, with each partner contributing melodies, harmonies and lyrics.

The sixteen tracks span an eclectic range, from wistfully romantic through lushly introspective to upbeat and playful, with the common factor found in well-crafted songs given stellar performances.

Moonshadow Dance

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Bill Sample Trio - Small

Size: 115,4 MB
Time: 49:43
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. The Big Wag (5:32)
02. Keith's Hips (5:01)
03. Bopping With R And R (3:32)
04. Rene's Waltz (6:27)
05. Broken (5:12)
06. Night Music (5:11)
07. Inhibition (3:14)
08. Triste, Sad But Beautiful (4:31)
09. Boston Blues #2 (4:04)
10. Where Were You (5:44)
11. Small (1:10)

Bill Sample has been a force in the West Coast music scene for many years. A recent highlight of Bill’s career includes playing on the 2008, Grammy-winning Ratatouille soundtrack. During his tenure as Music Director for David Foster, he worked with Brian Adams, Celine Dion, Peter Cetera and Kenny Loggins, to name a few. His recording credits include Leon Bibb, Eric Bibb, Michelle Wright, and Simple Plan. He has also performed with Ray Charles, Mel Torme, and Robben Ford.

In 2003, Bill was inducted into the BC Entertainment Hall of Fame. In 2010, Bill received both a Lifetime Achievement Award and Most Influential Jazz Musician from the Royal Canadian Music Project, and his band Sample Stearns Band (from the 70’s) received the Most Influential Group Award.

In 2013, Bill was awarded the Queen's Diamond Jubilee Medal.

In 2014, Bill and playwright Bob Sarti were awarded the Ovation Award for Best New Work, for The Raymur Mothers, a musical.

Small

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The Trio - Body And Soul

Size: 143,3 MB
Time: 61:24
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. A Foggy Day In London Town (Live) (4:03)
02. Body And Soul (Live) (4:24)
03. A Time For Love (Live) (4:56)
04. Georgia On My Mind (Live) (3:49)
05. The Nearness Of You (Live) (4:49)
06. Lullaby Of Birdland (Live) (3:39)
07. Manha De Carneval (Live) (4:58)
08. My Foolish Heart (Live) (3:52)
09. When Sunny Gets Blue (Live) (3:43)
10. The Lady Is A Tramp (Live) (2:46)
11. Prelude To A Kiss (Live) (3:57)
12. The Touch Of Your Lips (Live) (3:05)
13. My Funny Valentine (Live) (4:13)
14. When I Fall In Love (Live) (4:07)
15. Triste (Live) (4:54)

William Henderson brings to the classic American standards of Rogers and Hart, Cole Porter, Hoagie Carmichael, and others, the styling of the jazz artist, combining the precision of pitch, the warm and sophisticated voice, and the fluid phrasing which recall a time when "jazz" and "popular music" meant much the same thing. It all sounds true, and finding true music in an age of commercial fluff and computerized responses to popularity polls is like sifting through ashes and finding a diamond: it's too good to be true. Yet, here it is: very, very good — and true.

Henderson is a fine guitarist and often accompanies himself, but, like most honest jazz singers, admits that he prefers singing with good jazz combos, and especially, fine big bands.

Henderson has appeared at clubs in Boston; Washington, DC; Panama City, Florida; and extensively in Naples, Italy. He has performed a number of times on Italian television. He has made 6 albums: Live at the AOC (1994), Dual Cool, with trumpeter Hunter Hustus, and his latest 4, A Slice Of The Moon, Stars Fell on Alabama, The Lady is a Tramp, and I’m In the Mood for Love (available now, on line). Among many performances in Italy, he has appeared in Sanremo, Rome, and Milan with the US Navy 6th Fleet band, and with that band also sang at the 2000 Split, Croatia, Jazz Festival.

So, indeed, there is a common lament that "They don't write songs the way they used to,” and, alas, there is some truth in that. But they do still sing them! At least some people do. William Henderson, for one. ~Jeff Matthews

Franco De Crescenzo is a superb and innovative pianist who has played with many of the great jazz and pop stars of Europe, including Pino Danieli. He has played in most of the important jazz clubs in Italy and continues to inspire his audiences wherever he plays.

Franco Coppola is a extraordinary all around wood-wind musician. On this album he plays flute as it fits best with the Trio. Franco has played in many jazz clubs in Italy and Europe and has been teaching music for many years.

Body And Soul

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Father Al & The Jazz Congregation - Here's To Life

Size: 100,8 MB
Time: 39:23
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Love Being Here With You (1:36)
02. Vivo Sonhando/Dreamer (3:33)
03. At Last (4:42)
04. Day By Day (3:33)
05. Love Me Like A Man (3:49)
06. Make You Feel My Love (3:55)
07. More (3:04)
08. Over The Rainbow (3:03)
09. Summer Samba/So Nice (3:59)
10. The Nearness Of You (4:56)
11. Here's To Life (3:09)

A unique blend of past and current Jazz Standards performed by four excellent musicians, featuring the vocals of Ms. Cheryl Morrell.

Personnel:
Al Ferrante: Drums
Cheryl Morrell: Vocalist
Armand De Genova: Piano
Arthur "Yogi" Schmidt: Bass

Here's To Life

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Donald Byrd - Up With Donald Byrd

Bitrate: MP3@320K/s
Time: 41:28
Size: 94.9 MB
Styles: Trumpet jazz, Hard bop
Year: 1964/2004
Art: Front

[2:50] 1. Blind Man, Blind Man
[4:19] 2. Boom Boom
[5:03] 3. House Of The Rising Sun
[3:56] 4. See See Rider
[6:45] 5. Cantaloupe Island
[7:54] 6. Bossa
[5:12] 7. Sometimes I Feel Like A Motherless Child
[2:38] 8. You've Been Talkin' 'bout Me Baby
[2:47] 9. My Babe

Drums – Grady Tate; Guitar – Kenny Burrell; Piano – Herbie Hancock; Trumpet – Donald Byrd; Stanley Turrentine, Jimmy Heath - Saxophone.

Trumpeter Donald Byrd took a brief vacation from Blue Note to record this one album for Verve. The music is mostly pretty forgettable despite such top sidemen as tenors Stanley Turrentine and Jimmy Heath, pianist Herbie Hancock, and guitarist Kenny Burrell. Byrd mostly sticks to current pop tunes, and most of the songs utilize a rather average vocal group listed as "The Donald Byrd Singers." The arrangements by Claus Ogerman, Byrd, and Hancock are unimaginative and these renditions of "House of the Rising Sun," "My Babe," and a few of Hancock's originals are quite forgettable. A lesser effort. ~Scott Yanow

Up With Donald Byrd

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Jane Fielding - Embers Glow & Trio

Bitrate: MP3@320K/s
Time: 62:48
Size: 143.8 MB
Styles: Jazz vocals
Year: 1956/2012
Art: Front

[3:52] 1. Embers Glow
[2:29] 2. Our Waltz
[3:12] 3. Key Largo
[3:08] 4. Along With Me
[2:44] 5. In Love Vain
[3:40] 6. Round About Midnight
[2:31] 7. The Irretrievable Loss Of Personal Belonging
[2:51] 8. Make The Man Love Me
[2:49] 9. Right Boy For Me
[3:20] 10. All Dressed Up Tonight And No Place To Go
[3:31] 11. How Long Has This Been Going On
[1:53] 12. Long Ago And Far Away
[3:46] 13. A Summer Day
[2:39] 14. One Song
[2:05] 15. This Heart Of Mine
[3:00] 16. How Deep Is The Ocean
[2:46] 17. I'll Remember April
[3:38] 18. Stars Didn't Fall
[2:06] 19. I Wish I Knew
[2:10] 20. Something To Remember You By
[1:51] 21. If I Were The Only Girl In The World And You Were The Only Boy
[2:37] 22. Something I Dreamed Last Night

Jane Fielding (vcl), Joe Maini (as), Ted Efantis (ts), Kenny Drew (p), Leroy Vinnegar, Paul Chambers (b), Lawrence Marable (d) / Lou Levy (p), Red Mitchell (b). Capitol Recording Studios, Hollywood, August 29, 1955.

Tracks #1-10, from the album "Embers Glow" (Jazz:West JWLP-5). Tracks #11-20, from the album "Jazz Trio For Voice, Piano and String Bass" (Jazz:West JWLP-3). Tracks #21 & 22, form the album "Sessions, Live - Oscar Peterson-Gerald Wiggins" (Calliope CAL3001).

Jane Fielding was only 21 when she made these recordings in 1956. Her voice, low and warm, with a fine phrasing, revealed a natural affinity for jazz, something confirmed by the calibre of the stellar West Coast jazzmen she could call on for these rare examples of her fine talent. They are the only two albums she recorded for Jazz:West, a small, label based in Hollywood. On the first she’s backed by a quality quintet led and arranged by pianist Kenny Drew, with two outstanding saxophonists, altoist Joe Maini and tenor Ted Efantis, and a rhythm section including Leroy Vinnegar—sharing bass duties with Paul Chambers—and drummer Lawrence Marable. Drew’s beguiling charts blend beautifully with Jane’s singing.

The second album, made six months earlier, embraces a more intimate mood, and her musical empathy with Lou Levy and Red Mitchell is confirmed by the jazz-trio effect they achieve. Included as a bonus are two songs she performed on the Stars of Jazz TV show in 1957. She sings so well on these sessions—and with such an innate feel for jazz—that it makes the fact she enjoyed such a brief career on the mid-fifties West Coast scene all the more extraordinary. And disappointing.

Embers Glow & Trio

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Frank Vignola - Off Broadway

Bitrate: MP3@320K/s
Time: 93:19
Size: 213.6 MB
Styles: Post bop, Guitar jazz
Year: 2000
Art: Front

[ 5:24] 1. Funny How
[ 4:20] 2. Stars Fell On Alabama
[ 5:24] 3. Off Broadway
[ 5:28] 4. Limone's Blues
[ 5:18] 5. The Return
[ 5:12] 6. Stardust
[ 4:51] 7. Sing That
[ 4:22] 8. Cookin' At The Continental
[ 4:50] 9. Never, Never
[ 5:15] 10. Annie
[ 4:03] 11. In The Hills
[ 6:09] 12. Frankly Speaking
[ 3:58] 13. Stars Fell On Alabama
[ 9:57] 14. It's All Right With Me
[ 4:22] 15. What's Up
[14:19] 16. Blues #5 (Blues For Kurtchen)

This album might be subtitled "Frank Vignola Plays the Music of Joe Ascione," as six of the tunes were penned by the talented drummer. Others in the group who collect royalties by having their compositions performed on this album are Randy Sandke and John Goldsby, as well as Vignola. There are also some standards on the 15-tune play list. This is the guitarist's first effort for the very active German company, Nagel-Heyer, coming over from Concord Jazz where he recorded several albums as a leader, including a flirtation with smooth jazz. Vignola is known for his close study of the styles of Django Reinhardt and Joe Pass. Judging from his playing, he has also absorbed the techniques of other guitar masters, especially Mundell Lowe. Over his relatively short career (he was just 35 when this CD was cut), he has taken a turn at a variety of musical styles, working with ragtime pianist Max Morath and performing in jazz clubs and on recordings and live gigs with everyone from rockers Leon Redbone and Ringo Starr to jazzers Les Paul and Milt Hinton. He is also a noted jazz instructor, having authored his own set of instructional materials. With his well-honed technique and feel for the music, the presence of distinguished jazz performers, and an arresting play list, this initial effort for Nagel-Heyer portends a solid association, which should go long into the future. Whoever decided to include veteran Frank Wess on some tracks deserves a good deal of credit for the success of this album. The Count Basie veteran tenor man has laid-back but commanding solos on such cuts as "It's All Right With Me" and Horace Silver's "Cookin' at the Continental," where he and another jazz veteran, Sir Roland Hanna, assume control of the track, making it an album highlight. The second version of "It's All Right With Me" is a regular ten-minute session as Vignola and Wess, together and individually, add their artistic imprimatur to this chestnut, with Ascione's revved-up drums not letting anyone off the hook. This album is a generous 79-plus minutes of solid jazz and is recommended. ~Dave Nathan

Off Broadway

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The Diamond Five - Montmartre Blues

Bitrate: MP3@320K/s
Time: 41:27
Size: 94.9 MB
Styles: Hard bop, Funk
Year: 2010
Art: Front

[2:58] 1. The Beauty Of The Ball
[4:32] 2. Fair Weather
[3:58] 3. Alexander's Ragtime Band
[5:01] 4. Montmartre Blues
[4:10] 5. Parlez Moi De Velours
[2:56] 6. Bobby Tale
[5:16] 7. Jubilation
[2:42] 8. Royal Dream
[3:23] 9. Oleo
[6:26] 10. Sister Sadie [live]

Bass – Jacques Schols; Drums – John Engels Jr.; Piano – Cees Slinger; Tenor Saxophone – Harry Verbeke; Trumpet, Trombone – Cees Smal.

10 previously unreleased tracks by the godfathers of the Dutch Jazz scene, recorded between 1960 and 1963, compiled for Sonorama by the Jazzdiggers from Holland. Featuring great but unknown tunes by the legendary quintet around pianist Cees Slinger, pulled from promotional vinyl EPs, radio programmes, unreleased schellack records or flexi discs. Lost chapter of European jazz history, restaurated from original records and tapes, including lost compositions by Cees Smal as well as nice versions of classics like Sonny Rollins'"Oleo", Horace Silver's "Sister Sadie" or Oscar Pettiford's "Montmartre Blues".

Montmartre Blues

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Paul Anka - 15 Songs: Songs I Wish I'd Written

Bitrate: MP3@320K/s
Time: 42:15
Size: 96.7 MB
Styles: Pop-rock
Year: 1963/1977
Art: Front

[2:54] 1. Ramblin' Rose
[2:43] 2. I Can't Stop Loving You
[2:53] 3. The End Of The World
[2:22] 4. He'll Have To Go
[2:04] 5. All I Have To Do Is Dream
[2:21] 6. Can't Get Used To Losing You
[2:11] 7. Oh, Lonesome Me
[3:23] 8. Save The Last Dance For Me
[2:30] 9. Blue On Blue
[2:42] 10. Moon River
[3:16] 11. It's Not For Me To Say
[2:10] 12. Memories Are Made Of This
[3:47] 13. You Always Hurt The One You Love
[3:24] 14. Cry
[3:28] 15. Who's Sorry Now

15 Songs: Songs I Wish I'd Written

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Grant Stewart - Shadow of Your Smile

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 50:56
Size: 116,7 MB
Art: Front

(6:55)  1. This Could Be the Start of Something Big
(5:34)  2. The Fabio Complex
(7:28)  3. Shadow of Your Smile
(6:22)  4. Kawa Power
(7:57)  5. You and the Night and the Music
(4:21)  6. Danny Boy
(5:44)  7. I Won't Dance
(6:31)  8. Autumn Leaves

Grant Stewart was born in Toronto, Canada, on June 4, 1971, and moved to New York City at the age of nineteen studying with masters such as Donald Byrd and Barry Harris. He has performed internationally with Jimmy Cobb, Harold Mabern, Louis Hayes, Curtis Fuller, Renee Fleming, Clark Terry, Bob Mover, Etta Jones, Bill Charlap, Lewis Nash, Peter Washington, Brad Mehldau, Russell Malone, Larry Goldings, Peter Bernstein, Harry Connick, Mickey Roker, Jimmy Lovelace, Cecil Payne, Dick Hymen, Herb Geller and was a member of the last Al Grey Sextet. In New York, Stewart can be found playing at such clubs as Smalls, Lincoln Center, Birdland, Smoke, The Kitano, The Jazz Standard and many more. Stewart has performed all over North America and Europe as well as in Japan, Brazil, and Taiwan. He was also one of the first jazz artists to be invited to play at the historical Hermitage Museum in St.Petersburg, Russia. In addition Grant was a featured artist at the Guggenheim Museums’Jazz series with his trio including drum legend Jimmy Cobb.

Stewart has released sixteen recordings as a leader, the highlights of which are his most recent release Grant Stewart Trio on Cellar Live Records and his award winning Live At Smalls (2012), released on Smalls Live Records, In the Still of the Night (2007), Young at Heart (2008), Grant Stewart Plays the Music of Duke Ellington and Billy Strayhorn (2009) and Around The Corner (2010). He also has co-led two sessions with fellow tenor saxophonist Eric Alexander on the Criss Cross label and has appeared on many other recordings as a sideman.

From 2008 until 2015, Stewart has been voted a “rising star on the tenor” in the Downbeat Critic’s Poll and was the subject of a feature in the July/August 2009 issue of JazzTimes magazine. Downbeat magazine has also featured Grant in its the December 2008 issue in a piece written by noted jazz writer Ted Panken. On the international front Stewart was named one of the top 3 tenor saxophonists and as number 7 jazz artist of the year by the noted jazz magazine Swing Journal in its 2009 poll. http://grantstewartjazz.com/about/

Shadow of Your Smile

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Joey Calderazzo - Going Home

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 63:13
Size: 147,5 MB
Art: Front

( 7:14)  1. Manifold
( 7:17)  2. I Never Knew
( 4:25)  3. Why Me
( 6:45)  4. Stars Fell On Alabama
(10:07)  5. Legend
( 6:09)  6. One Way
( 7:22)  7. My Foolish Heart
( 8:22)  8. Mike's Song
( 5:29)  9. Going Home

Joey Calderazzo has carved out a sneaky-good career for himself. Probably best known for replacing Kenny Kirkland in the piano chair of the Branford Marsalis Quartet, he has released nine discs as a leader over the past 24 years. Although they routinely garner plaudits, he’s not the type of highly conceptual stylist who registers in the polls. His art is mostly formulated by the breadth and precision of his craft.

Going Home piques the intellect and challenges that breadth and precision with open-ended tunes that encourage improvisation. (Seven out of the nine cuts are Calderazzo originals.) He operates in a classic piano-trio format with bassist Orlando le Fleming and drummer Adam Cruz, and it’s a pleasure to hear their tentative forays on foundational riffs and barebones themes gradually quicken into more detailed textures and confident interactions. The slow-boiling intensity that eventually enlivens “Manifold” and “Legend” is a particular highlight.

Calderazzo has absorbed the contemporary masters of his instrument in a manner that informs rather than sacrifices his own identity. You hear the prowling gallop of McCoy Tyner, the playful hopscotch of Chick Corea and the ascending vamps of Herbie Hancock all churning within the mix of his improvisations. The Crescent City jazz-funk of “One Way” (previously heard on Calderazzo’s 2011 album of duets with Branford Marsalis, Songs of Mirth and Melancholy) feels like a delightful hybrid of Hancock and Dr. John. The better of the disc’s two standards, “Stars Fell on Alabama,” is a perfectly rendered soul-blues tearjerker that variously recalls Ray Charles and Hank Jones.

Calderazzo invokes all these linkages without any sense of pastiche or indebtedness, creating a personal style that yields enhanced professionalism and reduced notoriety. There are no guest stars except for Marsalis blowing plush tenor on the elegantly subdued “I Never Knew.” The rich trio interplay that characterizes most of the record is overshadowed by Calderazzo’s muscular virtuosity on the final two numbers, “Mike’s Song” (a tribute to his early employer Michael Brecker) and the emotionally evocative title track, performed solo, that closes the collection. It’s a polished coda for a sneaky-good record. ~ Britt Robson  http://jazztimes.com/articles/158683-going-home-joey-calderazzo

Personnel: Joey Calderazzo (piano); Adam Cruz (drums); Branford Marsalis (tenor saxophone); Orlando Le Fleming (bass).

Going Home

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