Thursday, February 4, 2016

Scott Colley - Subliminal...

Styles: Jazz, Post-Bop
Year: 2006
File: MP3@320K/s
Time: 58:32
Size: 134,4 MB
Art: Front

(5:53)  1. Don't Ever Call Me Again
(8:17)  2. Subliminal
(4:38)  3. The End And The Beginning
(7:37)  4. Turangalila
(7:34)  5. Out Of The Void
(5:39)  6. Segment
(6:11)  7. Is What It Is
(6:15)  8. Impossible Vacation
(6:25)  9. Verbatim

Scott Colley's writing reaches new heights on this very fine record. Joined by Chris Potter on tenor sax and bass clarinet, Bill Carrothers on piano, and Bill Stewart on drums, the bassist delivers some of his most memorable compositions to date. "The End and the Beginning," an uncommonly serene ballad, stands out among the others. But "Out of the Void" is also excellent, as are the hip title track and the veiled Cole Porter salute "Is What It Is." (Carrothers lays out on these latter two.) Potter and Stewart also contribute one composition each, and the quartet runs down Charlie Parker's classic blowing vehicle "Segment," with the drums soloing first -- not something you hear every day. A superb, well-rounded, cohesive effort. ~ David R.Adler  http://www.allmusic.com/album/subliminal-mw0000044517

Personnel: Scott Colley (bass); Chris Potter (tenor saxophone, bass clarinet); Bill Carrothers (piano); Bill Stewart (drums).

Subliminal...

Wednesday, February 3, 2016

Mario Adnet - Jobim Jazz: Ao Vivo

Size: 147,3 MB
Time: 63:32
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz: Brazilian Jazz
Art: Front

01. Jobim Jazz (Live) (4:56)
02. Mojave (Live) (3:23)
03. Sue Ann (Live) (3:31)
04. Surfboard (Live) (4:42)
05. O Boto (Live) (4:41)
06. Rancho Nas Nuvens (Live) (5:34)
07. So Danço Samba (Live) (3:41)
08. Wave (Live) (3:51)
09. Tema De Jazz (Live) (6:05)
10. Bonita (Live) (4:22)
11. Paulo Voo Livre (Live) (5:12)
12. Por Causa De Voce (Live) (2:47)
13. Estrada Do Sol (Live) (3:46)
14. Polo Pony (Live) (6:56)

Although we often think of Antonio Carlos Jobim's bossa nova material as a kind of jazz, it isn't really, although he was familiar with the genre and often used its inflections and moods. With this album, however, Jobim definitely becomes jazzy. Guitarist Mario Adnet set out to do two things — keep the Brazilian roots of the music faithfully intact, but also give jazz arrangements, including horns, to the pieces, some of which have rarely been heard. He's succeeded beautifully in both aims. His charts capture the subtle melodies and gorgeous sprung rhythms, but offer a full sound, with room for improvisation. Kudos, too, to the band, who play superbly throughout, while the singing is understated (even that of Joyce on "Paulo Voo Livre"), keeping the focus firmly on the instrumentalists. Adnet is obviously a scholar of Jobim's work, and a passionate fan, with a deep desire to bring more people to Jobim's music, and to highlight the jazz elements in it. It becomes more than an academic exercise, and the lulling, often beautiful sound is filled with little inventions that propel it along.

Jobim Jazz

Lola Haag - Romantico

Size: 105,3 MB
Time: 44:53
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Latin Jazz
Art: Front

01. Aquellos Ojos Verdes (2:29)
02. Somos Novios (4:22)
03. Perfidia (2:18)
04. Sabor A Mi (3:04)
05. Quizas, Quizas, Quizas (2:43)
06. La Media Vuelta (2:39)
07. Solamente Una Vez (3:00)
08. Besame Mucho (3:30)
09. Esta Tarde Vi Llover (3:43)
10. Piel Canela (3:14)
11. Historia De Un Amor (3:27)
12. Amor, Amor, Amor (2:42)
13. La Sombra De Tu Amor (4:35)
14. Quien Sera (3:01)

Lola Haag is a native of Wisconsin who has been living in California for most of her adult life. Early influences were the great female jazz singers including Ella, Sarah, Peggy Dinah and so many others. She studied the performers who were entertainers, those who really knew how to relate to their audiences. Her musical tastes run from the
great American Songbook and the fabulous songwriters of that era to the outstanding contemporary songwriters of today from Jazz to Broadway.

Lola loves to sign. When she was growing up she was teased by her siblings that she would sing along with anything, including the instrumentals! Her grandmother fibbed and told her that eating burnt toast would give you a good singing voice. She ate all the family’s toast scraps for years.

Prior to starting a Jazz recording and performing career, Lola pursued her love of the American Musical Theatre playing many lead roles including: Mama Rose in “Gypsy”, Anna in “The King And I”, Adelaide in “Guys & Dolls”, Guinevere in “Camelot” and many others. She directed a youth theater for over 10 years, teaching children and teens acting, singing and performing skills.

During this time, Lola worked on perfecting her craft as a singer and entertainer and longed for the day when she could share her love for the greatest music ever written with the Jazz Club circuit. She began appearing in clubs all over California developing her “chops” on the music of Cole Porter, Stevie Wonder, Gershwin, Billy Joel, Billy Strayhorn, Ellington and others. Her club experiences let to recording opportunities.

She recorded her first Jazz CD, “A Tribute to Sarah Vaughan” which featured the Jerome Kern song “All The Things You Are” and Sarah’s hit “Whatever Lola Wants”, which Lola has adopted as her own signature song. Lola’s version was one of the top Jazz vocal downloads in iTunes for many months.

Her second Jazz CD pays homage to the great Billie Holiday. In her own style, Lola’s version
of “God Bless The Child” really shows the depth of her delivery. Her interpretation of Duke Ellington’s “In A Sentimental Mood” and the ballad “He’s Funny That Way” are gems that highlight Lola’s relaxed style.

Released in July 2013 is Lola’s latest CD “Here I Go Again…” It is a collection of audience favorites from her live Jazz performances. The album has a light swingin’ style and features many familiar songs, including a samba version of “I’ve Grown Accustomed To his Face” to a unique smooth groove version of Billy Joel’s “New York State Of Mind”. The final tune on the album is a new rendition of “Somewhere Over The Rainbow”. It gives the listener a chance to hear Lola display the vocal power that is a hallmark of her live shows.

Lola Haag & Her Jazz Ensemble perform continuously in Jazz clubs from New York to California. Her recordings are heard world wide on radio stations around the globe.

Romantico

Rich Crandall - Buddy Nowhere: 1930s

Size: 76,5 MB
Time: 32:26
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Out Of Nowhere (3:15)
02. A Kiss To Build A Dream On (3:44)
03. My Buddy (4:07)
04. Tea For Two (3:13)
05. I Cover The Waterfront (2:56)
06. The Blue Room (2:59)
07. I'll Never Be The Same (2:59)
08. Don't Blame Me (3:36)
09. Strollin' With My Baby Back Home (2:59)
10. Out Of Nowhere (Reprise) (2:33)

Crandall’s style of playing piano is clearly jazz, but there’s a warmth that pervades throughout his playing—when performing “live”, on his trio albums, his daughter’s vocal albums, and now on this new solo album, “Buddy Nowhere” 1930s.

It began in the Midwest heartland of the U.S.—specifically Chicago where he was first raised—with the nurturing encouragement of his music-loving, piano playing father, Robert. Maybe “Buddy Nowhere” is a return to musical roots of sorts for Rich, who went on to forge his own jazz path through Wisconsin and Michigan before breaking loose to San Francisco and finally Honolulu. That’s where he's settled, married, and passed the musical torch to daughter Angela.

“Clear melodic lines, good time, and rich chords are what communicate best for me,” says Crandall. “Popular appeal’s a trap. Playing in a way that seeks—reaches out beyond one’s ego—is what’s crucial for musical language to communicate, I think.”

Crandall adds…“Music is fantasy—and I believe ‘Buddy Nowhere’ subtly and concisely captures my own fantasies surrounding these song favorites…from a time period way before my own.”

Crandall’s albums include “Solo Travel”, trio albums “Soothsayer”, “Til Further Notice”, and “Last Takes with Rory.” He also produced and his trios performed on Angela Crandall’s “Shine” and “Malaika.” All were recorded on the Music Formats.

Buddy Nowhere: 1930s

David Gonzalez - Jazz Gumbo

Size: 99,6 MB
Time: 36:39
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: New Orleans Jazz, Vocals
Art: Front

01. Do You Really Know What It Means To Miss New Orleans (2:12)
02. Do You Know What It Means To Miss New Orleans (Charlie Miller) (3:46)
03. Never Make Your Move Too Soon (3:52)
04. Chile Con Soul (4:16)
05. Sophisticated Lady (5:12)
06. Rhythm-A-Ning (3:31)
07. A Night In Tunisia (4:37)
08. Summer Song (4:15)
09. I'm Walkin' (4:52)

Hello everyone, and thank you for stopping by. I’m David Gonzalez, a man some might say is a wearer of many hats. Well, my favorite “hat” has been that of a jazz vocalist.

Over the past four plus decades I’ve shared the stage with musicians who performed with Duke Ellington, Count Basie, Woody Herman, Benny Goodman to Charlie Parker, George Shearing, Cal Tjader, Tito Puente to vocalists such as Frank Sinatra, Joe Williams, Ella Fitzgerald, Sarah Vaughn ,Billie Holliday and of course, me.

Those were memorable times and over the past several years, I have added to those memorable times with performances with some wonderful jazz musicians in New Orleans. So much so, that for the past three years I’ve been working on a recording project that will feature three different ensembles of New Orleans jazz musicians.

The first ensemble features a tribute to New Orleans that I composed along with two other songs with Charlie Miller (Dr. John, Thelonius Monk, Machito, Larry Harlow, Chuck Mangione…), Darrel “Sugar Bear” Francis (the “hardest working man in show business”) and Eric Robinson (a gifted guitarist). I even persuaded Charlie Miller to sing a “New Orleans” song!

The second ensemble features Thaddius Richard, piano (has a platinum and gold record for his time with Paul McCartney and Wings), Richard Moten, bass, Gerald French, drums, and for one song, trombonist Rick Trolsen.

The third ensemble features Lawrence Sieberth, piano, Richard Moten, bass, Gerald French, drums, Andrew Baham, trumpet, and Alexey Marti (from Cuba), latin percussion.

This was indeed a labor of love and I hope you will enjoy this "Jazz Gumbo" experience. Laissez Les Bon Temps Rouler!

Jazz Gumbo

Vibrham Trio - Vibrham

Size: 84,4 MB
Time: 36:08
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz: Acid Jazz, Hammond Organ
Art: Front

01. Walkin' In Harlem (4:26)
02. Icaro (6:15)
03. From Jhon To Jhon (5:23)
04. Kandisky (4:09)
05. Sballad (2:50)
06. Blues.It (3:59)
07. Quiet Song (4:08)
08. Dr. Smith (4:54)

VIBRHAM is a very uncommon organ-based trio!

Formed by Francesco Fabbri (Hammond B3), Jacopo Bazzarri (Vibes) and Massimo Discepoli (Drums) the band found another way to play jazz, with the amazing strenght of Hammond organ and the melodic and smooth sound of the vibes.

The music of VIBRHAM trio is a mix of jazz, Funk, Swing and Drum&Bass.

Eight tracks, each composed by one or more member of the Band!

Walkin in Harlem is a powerful funky tunes composed by Francesco Fabbri when he was in harlem to have lessons with the greatest Dr. Lonnie Smith.

Icaro is a dreaming jazz-latin tunes, composed by Massimo Discepoli.

From jhon to jhon (intentionally wrong!!) is another straight-up funky composition made by the organist Francesco fabbri.

Kandisky is the Drum&bass tunes! This is an amazing song with a lot of tempo changes inside!

Sballad is a melodyc song played only with vibes and marimba
from Jacopo Bazzarri and composed by Bazzarri and Fabbri togheter.

Blues.it is how Francesco fabbri use to see the blues!

Quiet song is a latin feel composition by the vibraphonist jacopo Bazzarri.

Dr. Smith is the last track of this album! Dedicated to the great Dr. Lonnie Smith and composed by Francesco fabbri.

Vibrham

Zhanna Sattarova - Sketches For The Mood

Size: 110,6 MB
Time: 47:42
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Electronic
Art: Front

01. Nuages (3:16)
02. So Fine (4:09)
03. To Beat Takeshi (4:50)
04. Elixir (4:15)
05. Nature Boy (5:14)
06. Honeysucle Rose (3:45)
07. I Got Stand A Ghost Of A Chance With You (5:14)
08. Blue Skies (4:49)
09. Dreamland (4:01)
10. Karakesek (3:15)
11. Kar Kizy (4:48)

1. Started playing the piano at the age of 4
2. From 7, going to musical school for gifted children
3. From 7 to 18, being a classical piano player
4. In 1991, Graduated Almaty Conservatory Institute as a classical piano player
5. From 21, Started learning what the Jazz Music is by herself
6. From 21, Started sing as a singer regarding Jazz
7. From 23, Started being a Jazz singer in Almaty
8. Working in the club in cities in Kazakhstan
9. Got membership of IAJE(International Association of Jazz Educators)
10. Being a representative of Kazakhstan in the U.S., Russia, Kirgizstan, etc.
11. Being a representative of Jazz festivals in Kazakhstan, New York, LA.
12. Organized many Jazz groups and Jazz Bands in Almaty
13. She prefers to play mainstream Jazz
14. Also enjoy playing Funk Music, Electronic Music
15. Composed many songs and lyrics as composer
16. 2012, released new album dedicated to Takesh Kitano (Japanese Movie Maker)
17. Got nickname as First lady of Jazz in Central Asia.

Sketches For The Mood

Maria Muldaur - Maria Muldaur's Music For Lovers

Bitrate: MP3@320K/s
Time: 54:10
Size: 124.0 MB
Styles: Louisiana Blues vocals
Year: 2000
Art: Front

[5:26] 1. Fanning The Flames
[5:25] 2. Think About You
[4:49] 3. Latersville
[6:50] 4. It Feels Like Rain
[4:23] 5. Gee Baby, Ain't I Good To You
[4:05] 6. We Can Let It Happen Tonight
[4:21] 7. Soothe Me
[4:17] 8. Talk Real Slow
[4:16] 9. I Wanna Be Loved
[5:09] 10. Someday When We're Both Alone
[5:05] 11. Southland Of The Heart

Maria Muldaur, Johnny Adams, Bonnie Raitt, Mavis Staples, Charles Brown (vocals); Danny Caron, Sonny Landreth, Anthony Paule, Cranston Clements (guitar); Jim Rothermel (clarinet, alto & tenor saxophones); Marty Grebb (saxophone, piano); Steve Campos (trumpet, cornet, flugelhorn); David Matthews (piano, organ); Mike Thompson (keyboards); Hutch Hutchinson, Reggie McBride (bass); Steve Potts, Lee Spath, Tony Braunagel (drums); Tracy Nelson, Jenni Muldaur, Ann Peebles, Linda Tillery, Lady Bianca, Jon Cleary (background vocals).

The musicianship, production, and song selection are all top-notch, and Muldaur, whose voice has grown huskier and even sexier since her '70s heyday, wraps her pipes around these tunes like a heavy fog slowly rolling in over New Orleans' Lake Ponchartrain. She effortlessly straddles jazz and blues, transforming anything she touches into a smooth, easygoing, yet sizzling slice of oozing romance. The way her voice lingers over words, adding just a trace of Southern twang as the subtle backing musicians set up a languid groove, makes the listener feel like they're sinking into their favorite easy chair. The song titles tell it all; "Soothe Me," "Fanning the Flames," and "We Can Let It Happen Tonight" set the mood without even hearing a note, and after you've played this once, you'll want to find your special someone to share it with all over again. If you own none of the trio of Maria Muldaur albums where these songs originated, this is a reasonable place to begin your collection of this classic singer, especially if you're in the mood for love. ~ Hal Horowitz

Maria Muldaur's Music For Lovers

Duke Pearson - The Right Touch

Bitrate: MP3@320K/s
Time: 42:31
Size: 97.3 MB
Styles: Piano jazz
Year: 2007
Art: Front

[6:51] 1. Chili Peppers
[6:35] 2. Make It Good
[5:52] 3. My Love Waits (O Meu Amor Espera)
[6:33] 4. Los Malos Hombres
[5:21] 5. Scrap Iron
[6:14] 6. Rotary
[5:02] 7. Los Malso Hombres

Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of "Los Malos Hombres") played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson's career. ~Scott Yanow

The Right Touch

Dave Lennox - Before Beyond & Blue

Bitrate: MP3@320K/s
Time: 72:26
Size: 165.8 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[5:11] 1. All About Jimmy
[7:15] 2. Funkaloo
[7:59] 3. Done Lost My Way With You
[5:23] 4. Talisman
[4:48] 5. Cruisin'
[7:29] 6. Sackville St Blues
[7:46] 7. Walkdown
[6:09] 8. The Moocher
[6:12] 9. Hobo Groove
[5:05] 10. All Star Blues
[9:05] 11. Somewhere Your Light Will Always Shine

Dave Lennox received formal tuition on piano and composition at the Municipal School of Music and the Royal Irish Academy in Dublin, Ireland. Walking into a local record shop, he was introduced to Jimmy McGriiff's "I got a woman" album. Jimmy and the Hammond organ made a deep impression and left a lasting legacy. After being involved with a number of bands in Dublin and writing and recording the title music for Ireland's top music show at the time, "Like Now", he moved to London, England. Once in the UK, gigs, tours, albums, radio and TV shows followed with numerous artists and bands. "I have been so privileged and lucky to play for people like Al Green, Archie Shepp, Dee Dee Bridgewater, Ginger Baker, Jay Owens, Mick Abrahams, Art Wood and so many others".

Daves first CD "Lufthalle", was written and recorded in the late 1980's but sat on the shelf for some years as Dave busied himself touring and writing for TV. It was finally released by Note Music in 2006. Best described as a "Jazz Fusion" work, it contains many influences from the era in which it was written and is an entirely solo effort. The second CD "Before Beyond and Blue, sees Dave joined by guitarist Winston DeLandro, Mick Eve on tenor sax and drummer Chris Sharley attempting to recreate some of the atmosphere from the Blue Note era. Driving organ grooves and lots of swing are the main components with an overall bluesy mood.

Currently Dave performs with a number of London based bands, most notably the Lee Ryder Band, Richie Milton and the Lowdown and the Grapevine Blues Band.

Before Beyond & Blue

Michelle Walker - Slow Down

Bitrate: MP3@320K/s
Time: 52:11
Size: 119.5 MB
Styles: Vocal jazz
Year: 2002
Art: Front

[3:51] 1. Nature Boy
[3:46] 2. Be My Baby
[2:27] 3. Pennies From Heaven
[4:15] 4. East Of The Sun
[3:52] 5. The Very Thought Of You
[2:42] 6. Sometimes I'm Happy
[4:25] 7. Summertime
[2:48] 8. Straighten Up And Fly Right
[3:40] 9. Kiss Of Life
[2:49] 10. Daddy
[4:05] 11. Slow Down
[3:59] 12. Your Song
[3:27] 13. Time After Time
[2:43] 14. Crazy He Calls Me
[3:14] 15. On The Sunny Side Of The Street

Her arrangements of straight-ahead standards and contemporary pop tunes blend genres effortlessly and with a fresh level of originality that is solidifying her own distinctive sound. Dave Nathan at AllAboutJazz.com says, Walker demonstrates an extraordinary degree of musicality. Michelle is often compared to Cassandra Wilson, Nina Simone and Betty Carter in style and tone. Based in New York City, Michelle Walker is a versatile singer blessed with a beautifully distinctive voice. This charismatic jazz vocalist uses an artful blend of blues, bebop, swing and soul that provides a musical playground for her and her band mates. With playful rhythmic expressiveness, Walker brings a level of sophisticated musicality to her lyrical phrasing that reveals her appreciation for mentor Mark Murphy. Yet, it is in her live performances where you hear the influences of Carter, Simone and Wilson. All seem to have provided her with a musical foundation but her study of them does not seem to have skewed her journey to find a singular voice.

Slow Down

Sonny Fortune - You and the Night and the Music

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 57:37
Size: 132,2 MB
Art: Front

(4:38)  1. Sweet Georgia Brown
(7:56)  2. You and the Night and the Music
(7:12)  3. Charade
(6:48)  4. 'Round Midnight
(6:37)  5. Besame Mucho
(6:05)  6. Love Song
(7:44)  7. The End of a Love Affair
(5:08)  8. For Duke and Cannon
(5:24)  9. BeBop

From the generation of post-bop saxophonists following in the shadow of John Coltrane, multi-instrumentalist Sonny Fortune comes closest to capturing Coltrane's spirit and intensity. Since the late 1960s, Fortune has made an indelible mark on jazz history, collaborating with Elvin Jones, McCoy Tyner, Miles Davis and Mongo Santamaria, among other luminaries. Despite his numerous side-man appearances and a fertile solo career, he remains a respected but unsung hero of the jazz cognoscenti. Dominated by standards and traditional tunes, You and the Night and the Music is a rarity in his oeuvre. The majority of Fortune's discography concentrates on his own compositions augmented with the occasional classic cover tune. Two Thelonious Monk tributes, Monk's Mood (Konnex, 1995) and Four In One (Blue Note, 1993), are the only sessions released under his own name where he isn't the primary writer.

Reveling in the tight-knit camaraderie of a veteran ensemble, his previous release, Continuum (Sound Reason, 2004), featured a similar line-up. Pianist George Cables, bassist Chip Jackson and drummer Steve Johns have all played with Fortune for well over a decade. With effusive commentary and attentive interaction, they revitalize these durable favorites with inspired verve and subtle twists.At age 68 Fortune shows no sign of losing steam. His tart alto tone and keening vibrato uncoil rapid-fire intervallic leaps and roiling cadences on a sweltering reading of "BeBop." Even the old chestnut, "Sweet Georgia Brown," is given a punchy reading as the quartet careens along with visceral ebullience.

Borrowing rhythmic traditions south of the border, the title track and "The End of a Love Affair" simmer over percolating Latin grooves. With winning invention, Henry Mancini's lilting "Charade" is given a noir-ish twist, transformed into a sultry escapade. Revealing a tender side, the leader's lyrical flute work on "'Round Midnight" and Cable's own "Love Song" attest to his melodic gifts. Demonstrating melodic maturity, deep-seated respect for tradition and an adventurous improvisational spirit, Fortune's tight-knit quartet re-envisions timeless standards as fertile launching pads for continued exploration. 
~ Troy Collins  http://www.allaboutjazz.com/you-and-the-night-and-the-music-sonny-fortune-18th-and-vine-review-by-troy-collins.php

Personnel: Sonny Fortune: alto saxophone, flute; George Cables: piano; Chip Jackson: double bass; Steve Johns: drums.

You and the Night and the Music

Duke Ellington & Teresa Brewer - It Don't Mean A Thing If It Ain't Got That Swing

Styles: Vocal And Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 29:02
Size: 68,9 MB
Art: Front

(2:05)  1. It Don't Mean A Thing If It Ain't Got That Swing
(3:18)  2. I Ain't Got Nothing' But The Blues
(2:27)  3. Satin Doll
(3:49)  4. Mood Indigo
(2:53)  5. Don't Get Around Much Anymore
(2:05)  6. I'm Beginning To See The Light
(2:37)  7. I've Got To Be A Rugcutter
(3:36)  8. I've Got It Bad And That Ain't Good
(1:55)  9. Tulip Or Turnip
(2:18) 10. It's Kind Of Lonesome Out Tonight
(1:53) 11. Poco Mucho

Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist and bandleader of jazz orchestras. He led his orchestra from 1923 until his death, his career spanning over 50 years. Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward, and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Though widely considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle, and referred to his music as part of the more general category of American Music, rather than to a musical genre such as jazz. Some of the musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. 

A master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians.Often collaborating with others, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, with many of his extant works having become standards. Ellington also recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", and "Perdido", which brought a Spanish tinge to big band jazz. After 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scoring several, and composed stage musicals. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and charisma, Ellington is generally considered to have elevated the perception of jazz to an art form on a par with other traditional musical genres. His reputation continued to rise after his death, and he was awarded a special Pulitzer Prize for music in 1999. https://en.wikipedia.org/wiki/Duke_Ellington

Teresa Brewer (May 7, 1931 – October 17, 2007) was an American pop singer whose style incorporated elements of country, jazz, R&B, musicals and novelty songs. She was one of the most prolific and popular female singers of the 1950s, recording nearly 600 songs.Theresa Veronica Breuer was born in Toledo, Ohio, the eldest of five siblings. Her father was a glass inspector for the Libbey Owens Company (now part of Pilkington Glass), and her mother was a housewife. When she was two years old, her mother entered her in an audition for a radio program, Uncle August's Kiddie Show on Toledo's WSPD. She performed for cookies and cupcakes donated by the sponsor. Although she never took singing lessons, she took tap dancing lessons. From age five to twelve, she sang and danced on the Major Bowes Amateur Hour, then a popular touring radio show. Her aunt Mary traveled with Theresa until 1949, when Theresa wed William Monahan.

At the age of 12, Brewer returned to Toledo and ceased touring in order to have a normal school life. She continued to perform on local radio. In January 1948, the 16-year-old won a local competition, and (with three other winners) was sent to New York to appear on a talent show called Stairway to the Stars, featuring Eddie Dowling. It was at about that time that she changed the spelling of her name from Theresa Breuer to Teresa Brewer. She won a number of talent shows and played night clubs in New York (including the Latin Quarter) https://en.wikipedia.org/wiki/Teresa_Brewer

It Don't Mean A Thing If It Ain't Got That Swing

Hendrik Meurkens - A Night In Jakarta

Styles: Harmonica jazz
Year: 2010
File: MP3@320K/s
Time: 53:05
Size: 123,5 MB
Art: Front

(6:01)  1. A Night in Jakarta
(5:36)  2. A Ilha
(5:05)  3. Choronto
(4:41)  4. They Can't Take That Away From Me
(4:20)  5. September Choro
(6:21)  6. The Winter Sea
(6:36)  7. Bolero Para Paquito
(2:52)  8. Choro no.8
(6:51)  9. Prague In March
(4:39) 10. Here's That Rainy Day

Ever since he started taking harmonica solos in the mid-'50s, Toots Thielemans has been without any close competition on his instrument, at least until Hendrik Meurkens arrived on the scene. Born in Germany to Dutch parents, Meurkens began as a vibraphonist, not playing harmonica until he heard Thielemans when he was 19. He traveled to the U.S. to study at Berklee and spent time in Brazil in the early '80s, during which he immersed himself in Brazilian jazz. Back in Berlin, Meurkens worked in the studios, but also recorded with the Danish Radio Orchestra and had his own jazz group. He made a record in Brazil for the Bellaphon label (1989) and since 1991 has recorded several sets for Concord and Concord Picante as a leader, in addition to appearing on records as a sideman with Charlie Byrd. ~ Scott Yanow  http://www.allmusic.com/artist/hendrik-meurkens-mn0000575401/biography

Personnel:  Hendrik Meurkens - harmonica, vibes;  Misha Tsiganov – piano, fender rhodes;  Gustavo Amarante – bass; Adriano Santos – drums, pandeiro, perc.

A Night In Jakarta

Paul Motian Trio - One Time Out

Styles: Jazz, Post-Bop
Year: 1987
File: MP3@320K/s
Time: 49:18
Size: 113,2 MB
Art: Front

(5:47)  1. One Time Out
(5:24)  2. If You Could See Me Now
(4:22)  3. For the Love of Sarah
(5:04)  4. The Storyteller
(5:06)  5. Portrait of T.
(5:54)  6. Morpion
(7:33)  7. Monk's Mood
(4:22)  8. Good Idea
(5:43)  9. Circle Dance

The key to this unusual trio is not the muscular tenor of Joe Lovano or the propulsive timekeeping of the drummer/leader but the remarkable guitarist Bill Frisell. Able to somehow produce sounds from this guitar that could be mistaken for a keyboard or a steel guitar, in styles ranging from heavy metal and avant-garde jazz to country music, Frisell is the reason that the trio can sound like a full band despite not having a keyboardist or a bassist. The music, which includes seven Motian originals along with "Monk's Mood" and "If You Could See Me Now," features both intense three-way free improvisations and introspective spacey ballads. Few of the tunes themselves will stick in one's mind (although "Morpion" could be an imaginary meeting betwee 1966 John Coltrane and Jimi Hendrix) but it is the basic sound of the unique group that makes the CD of great interest. ~ Scott Yanow  http://www.allmusic.com/album/one-time-out-mw0000316600

Personnel:  Paul Motian (drums), Joe Lovano (tenor saxophone), Bill Frisell (guitar).

One Time Out

Tuesday, February 2, 2016

Diahann Carroll - Fun Life

Bitrate: MP3@320K/s
Time: 30:24
Size: 69.6 MB
Styles: Pop-jazz vocals
Year: 1961/2005
Art: Front

[2:39] 1. Let's Face The Music And Dance
[2:47] 2. Runnin' Wild
[2:49] 3. Once Is Enough For Me
[3:09] 4. Falling In Love Again
[2:15] 5. Don't Worry 'bout Me
[1:43] 6. I'm Not At All In Love
[3:02] 7. The Boys In The Backroom
[2:10] 8. Fun Life
[2:06] 9. Do What You Wanna Do
[3:04] 10. There'll Be Some Changes Made
[2:48] 11. Blah, Blah, Blah
[1:46] 12. I Don't Care

Still only in her mid-twenties, Diahann Carroll had a varied career leading up to her sole Atlantic Records album, including nightclub appearances, several albums on RCA Victor and United Artists, and appearances in such musical films as Carmen Jones and Porgy & Bess (although her singing was dubbed in by others). But she remained best-known for her appearance in the 1954 Broadway musical House of Flowers, a succès d'estime that annotator Roger Whitaker brought up immediately in his liner notes to Fun Life. It was that credit which legitimized Carroll's credentials as an interpreter of show music, but she further made her case here, handling favorites by Irving Berlin and the Gershwins. The obvious antecedent for Carroll was Lena Horne, but her voice had a purer tone and much less archness. She was content to float where Horne might have pounced, and this was most noticeable in her versions of two songs associated with the quintessentially arch Marlene Dietrich, "Falling in Love Again, Can't Help It" and "The Boys in the Backroom." Where Dietrich sang the former with a bored sophistication and the latter with a raucous lustiness, Carroll remained playful and kittenish throughout. As usual, arranger/conductor Peter Matz contoured his charts to match his singer's style and energy; he even contributed a good tune, "Once Is Enough for Me." Carroll's lightness of tone made her an excellent choice for her next defining stage role, which was less than a year away, the black lover of a white writer in Richard Rodgers' No Strings. ~William Ruhlmann

Fun Life

Lee Morgan - The Gigolo

Bitrate: MP3@320K/s
Time: 47:10
Size: 108.0 MB
Styles: Hard bop, Trumpet jazz
Year: 1965/2006
Art: Front

[ 7:21] 1. Yes I Can, No You Can't
[ 5:57] 2. Trapped
[ 5:29] 3. Speedball
[11:00] 4. The Gigolo
[ 7:19] 5. You Go To My Head
[10:01] 6. The Gigolo

Lee Morgan was the leading trumpeter in hard bop during the 1960s and he recorded quite a few classic albums for Blue Note. This is one of them. The CD reissue (which adds an alternate take of the title cut to the original five-song program) features Morgan at his best, whether playing his memorable blues "Speed Ball," an explorative ballad version of "You Go to My Head," a lengthy "The Gigolo," or his other two originals ("Yes I Can, No You Can't" and "Trapped"). There are no weak selections on this set and the playing by the leader, Wayne Shorter on tenor, pianist Harold Mabern, bassist Bob Cranshaw, and drummer Billy Higgins is beyond any serious criticism. ~Scott Yanow

The Gigolo

David Basse & The City Light Orchestra - Kansas City Live

Bitrate: MP3@320K/s
Time: 51:19
Size: 117.5 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[5:45] 1. St. James Infirmary
[3:43] 2. Do Nothing 'til You Hear From Me
[2:31] 3. The Gypsy In My Soul
[4:29] 4. The Eyes Of A Desperado
[6:27] 5. Kansas City
[9:12] 6. Little Sunflower
[5:35] 7. St. Louis Bound/Mary Ann
[3:09] 8. She's No Lady, She's My Wife
[3:57] 9. Caldonia
[6:27] 10. Roberta

David Basse (vocals, drums, percussion), Gerald Dunn (saxophone), Pat Morrisey (trumpet, background vocals), Tim Perryman (trombone), Joe Cartwright (piano), Ricky Anderson (bass).

The City Light Orchestra has long been Kansas City's premier jazz and blues ensemble. Releasing their first recording Raised Spirits to a packed house at KC's Folly Theater, the group then hit the road and appeared at the Improv in Los Angeles, New York's Hanratty's, Santa Fe's Club West and Antoine's in Austin. Gary Giddins called David Basse and the City Light Orchestra 'one of the best swing bands to come out of Kansas City since Jay McShann's.' On Kansas City Live, trumpeter Pat Morrissey is a driving force in the band and coproduced this swinging CD.

Kansas City Live

Karsu Dönmez - Live Aan't Ij

Bitrate: MP3@320K/s
Time: 37:12
Size: 85.2 MB
Styles: Piano jazz
Year: 2010
Art: Front

[3:47] 1. Mistress
[4:18] 2. Three Lives
[2:08] 3. Mona
[5:47] 4. Divane Asik Gibi (Rutger (Rutti) Kroese & Karsu Dönmez)
[3:50] 5. Our Memoirs
[5:31] 6. I'll Leave Alone
[4:34] 7. Suffer Too Long
[7:15] 8. Adio Kerida

Bass – Egemen Maden; Cello – Bence Huszar; Drums – Kağan Han; Guitar – Sebastiaan Lunsingh Scheurleer; Lead Vocals, Piano – Karsu Dönmez; Ney – Tamer Coşkun; Trumpet – Jan van Duikeren; Violin, Vocals – Müge Alpay.

Karsu is a multi-talent. The Dutch musician with Turkish roots is not only a gifted singer and pianist, but also a composer, musical arranger and lyricist. Karsu wrote almost all the compositions for her debut album CONFESSION (2012), as well as for her latest album COLORS (2015).

Since her early youth Karsu has been performing on local and international stages. She started playing for an audience as a young girl in her father’s restaurant, Kilim, in Amsterdam, Holland. From there she made it to the Concertgebouw in Amsterdam, she played the North Sea Jazz Festival and the Istanbul Jazz Festival and she performed – a few times already – at the legendary Carnegie Hall in New York. Already from a very young age it became obvious that Karsu has music flowing through her veins. As a child she was fascinated by piano music. “I saw those pianists on television with their long, flowing hair, these Einstein-like types and I thought, “That’s really cool” I was instantly fascinated by the tunes they played,” is how Karsu describes her love for her favorite instrument.

When she was 7 years old Karsu got her own piano and started taking music classes immediately. She learned to play classical pieces by Chopin, Mozart, Bach and Beethoven, alongside traditional Turkish songs and contemporary jazz songs. Karsu started singing more or less by chance, following a school competition. “When I was in high school, I participated in an open music competition. I wanted to compete on piano, but to my surprise, I won in the vocal category. I had been practising the piano for years and here I was, winning with my voice.”

Karsu suspected the members of the jury of giving her false compliments. “At that time tv-formats like Idols just started to become popular. Sometimes less talented singers also competed and they would tell the jury: “You might think I’m a bad singer but people in my favourite cafe always tell me that I’m great.” I thought, maybe the jury gives me compliments just to be nice to me? I mean, you can not judge yourself, is it? But suddenly I was asked to perform as a singer.” Karsu’s voice appeared to be very distinctive for such a young girl: adult, deep and strong. Close your eyes and you under the impression that you are listening to a ‘big, old jazz mama’ from New Orleans.

Karsu has since toured at home and abroad. In her last theater tour 2014-2015, called ‘From New York to Istanbul’, she recollects her experiences during the many trips she made. If Karsu is not performing somewhere, she is working on new material.

Live Aan't Ij

Frank Wess - Magic 201

Bitrate: MP3@320K/s
Time: 51:24
Size: 117.7 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[5:11] 1. It Could Happen To You
[6:28] 2. A Cottage For Sale
[3:56] 3. After Paris
[4:57] 4. The Summer Knows
[7:02] 5. Embraceable You
[8:43] 6. Blues For Ruby
[9:24] 7. If You Can't Call, Don't Come
[5:40] 8. If It's The Last Thing I Do

Frank Wellington Wess was born on January 4th 1922 in Kansas City, Missouri. 
 At the age of 10 he started to learn the alto saxophone. The great saxophonist and flute player, a pioneer of that instrument in jazz, died on October 30 at age 91. Wess spent over a decade with Count Basie beginning in 1953; Dan Morgenstern called him the band's "spark plug." He was active until the last weeks of his long life. After moving to Washington DC he started playing in local bands, first on alto and later on tenor saxophone as well. During World War II Frank played tenor saxophone and solo clarinet in the army band and later led a band accompanying Josephine Baker. 
Baritone saxophonist Gary Smulyan has said, `His playing was always heartfelt and soulful, and his way with ballads could make you cry and shake your head in disbelief wondering how a person could cajole that much spirit from a saxophone.'

And so this new recording serves as a mighty epitaph for the genius Frank Wess that is no longer with us. The ensemble gather for this recording is as follows: Frank Wess, tenor and flute, Kenny Barron, Piano, Rufus Reid, bass, Russell Malone, Guitar, Winard Harper, drums. ~Grady Harp

Magic 201