Jane McDonald - The Singer Of Your Song (Deluxe Edition)

Bitrate: MP3@320K/s

Time: 68:40

Size: 157.2 MB

Styles: Easy Listening

Year: 2014

Art: Front

[3:18] 1. The Rose

[3:18] 2. Here Comes The Sun

[3:22] 3. We've Got Tonight

[4:55] 4. The Singer Of Your Song

[4:01] 5. Betcha By Golly Wow

[4:51] 6. When I Look At You

[4:16] 7. I've Never Been To Me

[3:48] 8. Love Is All

[3:47] 9. If You Go Away

[3:15] 10. Yesterday When I Was Young

[2:53] 11. God Only Knows

[2:46] 12. Guess Who I Saw Today

[4:13] 13. When October Goes

[4:17] 14. You've Made Me So Very Happy

[2:44] 15. At Last

[4:27] 16. Going Out Of My Head

[3:45] 17. From This Moment On

[4:35] 18. I'll Be There

Jane rocketed to stardom in 1998 when she first appeared on our screens in the BBC 1 docusoap The Cruise, as top of the bill on board the ship 'The Galaxy'. The series attracted 13 million viewers and Jane McDonald emerged as a star and household name, an incredible 13 years later her career continues to take her to amazing heights.

Jane’s first album outsold her nearest rivals by four to one and gained Jane a place in the Guinness Book Of Records. It remained at Number One for three weeks and achieved platinum status staying in the Top 10 for 8 weeks. Each of Jane’s subsequent 4 major albums have all reached gold and silver status. 2009 saw the first album release under her own label. Simply titled Jane the CD entered the Official UK Album Chart at Number 7 and achieved silver status within 6 weeks.

Jane oversees everything to do with her own company Jane McDonald Ltd. She puts her heart and soul into her sell out performances, produces her own albums on her own label, is executive producer on her latest CD/DVD, Live at the London Palladium and works along side her Musical Director on arrangements and recordings. She has her own design label, The Jane McDonald Collection where she works closely with her own designer on all her couture gowns featured in her concert tours. For almost 14 years Jane has built up a phenomenal theatre audience, performing incredible live concerts across the United Kingdom and Southern Ireland. During that time selling out the Royal Albert Hall, and the London Palladium twice. Jane has also played to a sold out audience at the MGM Grand, Las Vegas.

The Singer Of Your Song (Deluxe Edition)

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Count Basie & His Orchestra - April In Paris

Bitrate: MP3@320K/s

Time: 67:26

Size: 154.4 MB

Styles: Swing, Big band

Year: 1956/2014

Art: Front

[3:46] 1. April In Paris

[5:14] 2. Corner Pocket

[4:42] 3. Didn't You

[3:57] 4. Sweetie Cakes

[3:05] 5. Magic

[5:13] 6. Shiny Stockings

[3:18] 7. What Am I Here For

[3:12] 8. Midgets

[3:22] 9. Mambo Inn

[3:05] 10. Dinner With Friends

[3:47] 11. April In Paris

[5:00] 12. Corner Pocket

[4:49] 13. Didn't You

[3:43] 14. Magic

[3:49] 15. Magic

[4:05] 16. What Am I Here For

[3:12] 17. Midgets

One of the staples in the Count Basie discography, April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon. April in Paris represents the reassembly of the original Count Basie orchestra that define swing in the 1930s and 1940s. The title track has come to define elegance in orchestral jazz. Though only ten tracks in its original release, seven alternate takes have now been incorporated into Verve's re-release of the original session tapes. Recorded in 1955 and 1956, April in Paris proved Count Basie's ability to grow through modern jazz changes while keeping the traditional jazz orchestra vital and alive. ~Christopher Fielder

April In Paris

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Jeff Golub - The Vault

Bitrate: MP3@320K/s
Time: 47:14
Size: 108.1 MB
Styles: Crossover jazz, Guitar jazz
Year: 2015
Art: Front

[3:46] 1. Funky As Funky Does
[3:48] 2. One More Excuse To Play The Blues
[3:29] 3. Open Up
[4:32] 4. Gimmie Some
[4:15] 5. Swagster
[4:13] 6. Keep The Ball Rolling
[4:43] 7. Jeff's Blues
[3:51] 8. Groanin'
[5:01] 9. Atlanta Nights
[9:32] 10. Naked City

The posthumously released all-star Jeff Golub benefit album, The Vault, brings together reworked and previously unreleased versions of songs the guitarist recorded prior to being diagnosed with the rare brain disease progressive supranuclear palsy (PSP) in 2014. A debilitating condition, PSP robbed Golub of his eyesight and left the adept, genre-bending blues and jazz musician unable to play his guitar. Tragically, complications from the disease also led to his death in January 2015. Prior to his passing, however, several of Golub's longtime friends and collaborators, including trumpeter Rick Braun, music executive Bud Harner, and producer/engineer Steven Miller, assisted Golub in compiling these tracks. Golub then handpicked many of his favorite artists to add their own contemporary style to the recordings and create something fresh. Although many of the songs on The Vault, such as "Funky Is as Funky Does," off 1994's Avenue Blue and "Groanin'," off 1999's Out of the Blue, will be familiar to Golub's longtime fans, these are not the same tracks featured on the original albums. On the contrary, these are alternate versions reworked with newly recorded additions from such artists as Dave Koz, Mindi Abair, Kirk Whalum, Boney James, Jeff Lorber, Gerald Albright, Peter White, Richard Elliot, and others. ~Matt collar

The Vault

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Dick Hyman & John Sheridan - Forgotten Dreams: Archives of Novelty Piano 1920's-1930's

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 61:14
Size: 141,0 MB
Art: Front

(3:50)  1. Echo of Spring
(2:54)  2. Concentratin'
(2:53)  3. Morning Air
(2:55)  4. Finger Buster
(3:09)  5. In the Dark
(3:47)  6. Soliloquy
(4:14)  7. Spring Fever
(3:12)  8. Southern Charms
(2:54)  9. Aunt Jemima's Birthday
(3:20) 10. Dancing Tamourine
(3:46) 11. Midsummer's Nightmare
(2:27) 12. Nickel in the Slot
(3:59) 13. Grandfather's Clock
(2:55) 14. My Pet
(2:17) 15. Lace Embroidery
(4:06) 16. Southern Exposure
(2:39) 17. Hobson Street Blues
(2:43) 18. Eye Opener
(3:05) 19. The Legend Of Lonesome Lake

When I first got into Jazz, I considered anything written and produced before, say, 1999 to be "Novelty" Jazz. So, it was with more than a little surprise that I popped Forgeotten Dreams into the CD player and was amazed to not hear Kenny G covers, but the style of music that had brought me into the Jazz realm. A fantastic album of songs penned by such greats as Zez Confrey, Willie "the Lion" Smith and Rube Bloom. All 19 cuts on this collection of hauntingly beautiful pieces is masterfully performed by the two men Sheridan and Hyman. 

Both men, performing on identical pianos for this recording, have shown that their 15+ years playing together has really created a unified flow to what they do. There are times when the two pianos are panned seperately into the speakers, so that one can distinguish the parts being play. There are times, particularly in "Finger Buster" when the two parts though panned are indistinguishable in a collision of sonic fury. An absolutely perfect companion for reading and/or writing, this album is certain to please any avid fan of Novelty Piano. ~ AAJ Staff  http://www.allaboutjazz.com/forgotten-dreams-archives-of-novelty-piano-1920s-1930s-dick-hyman-arbors-records-review-by-aaj-staff.php 
 

Personnel: Dick Hyman-Piano; John Sheridan-Piano

Forgotten Dreams: Archives of Novelty Piano   1920's-1930's

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Dinah Washington - After Hours With Miss D

Styles: Jazz, Vocal
Year: 2006
File: MP3@256K/s
Time: 51:03
Size: 100,5 MB
Art: Front

( 7:52)  1. Blue skies (edited version)
( 6:58)  2. Bye bye blues
( 3:14)  3. Am i blue
( 2:31)  4. Our love is here to stay
( 7:59)  5. A foggy day
( 7:02)  6. I let a song go out of my heart
( 2:17)  7. Pennies from heaven
( 2:12)  8. Love for sale
(10:54)  9. Blue skies (unedited version)

Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she began recording the songs heard on After Hours With Miss D, a date sparked (as the original liner notes explained) by her enjoyment of the time after a standard recording date, those late hours when she could sing what she wanted, stretch out and treasure her notes while her musicians relaxed the rhythm. (The record also helped feed the appetite of many record-buyers, who would only after the fact hear tales of unmissable sessions at neglected clubs.) Listeners expecting a record of narcoleptic torch songs, however, may well be shocked by the dynamic range of this date, comprising ebullient stormers as well as slow blues. (Just because the band relaxes the rhythm certainly doesn't mean they have to slow it down.) 

The results of three sessions recorded one year apart, After Hours With Miss D featured a hand-picked band including Clark Terry on trumpet and Eddie "Lockjaw" Davis or Paul Quinichette on tenor, plus Washington's rock-solid rhythm section of bassist Keter Betts, drummer Ed Thigpen, and usually pianist Junior Mance (who made his debut with Dinah on the first of these dates). The first two selections are the best, the opener "Blue Skies" a studied introduction for all the principals (each of them heard in extended form on the eight-minute track), and the second a runaway train with Clark Terry's hyper-inflated trumpet as the conductor and the rest of the band carried along for the ride. Organist Jackie Davis leads the group into traditional afterhours territory, setting into a bluesy groove for "Am I Blue?" and "Pennies From Heaven." Washington meanwhile is at her interpretive best, whether tormented ("Love for Sale") or reflective ("A Foggy Day") or tranquil ("Pennies From Heaven"). Everyone gets to solo, as it should be, and the controlled environment makes this session a tighter display of finesse than the live-in-the-studio, completely frenetic Dinah Jams LP. ~ John Bush  http://www.allmusic.com/album/after-hours-with-miss-d-mw0000324908

Personnel: Dinah Washington (vocals); Rick Henderson (alto saxophone); Eddie Chamblee, Eddie" Lockjaw" Davis, Paul Quinichette (tenor saxophone); Clark Terry (trumpet); Gus Chappell (trombone); Clarence "Sleepy" Anderson, Junior Mance (piano); Jackie Davis (organ); Keter Betts (bass); Candido Camero (conga); Ed Thigpen (drums).

After Hours With Miss D

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Laurindo Almeida - Guitar from Ipanema

Styles: Guitar Jazz, Brazilian Jazz

Year: 1964

File: MP3@320K/s

Time: 30:07

Size: 69,2 MB

Art: Front

(2:20)  1. Girl from Ipanema

(3:10)  2. Manhã de Carnaval

(2:08)  3. Sarah's Samba

(2:59)  4. Winter Moon

(2:34)  5. Izabella

(2:49)  6. Choro for People in Love

(2:43)  7. Quiet Nights of Quiet Stars

(3:51)  8. Old Guitaron

(2:13)  9. Um Abraço No Bonfa

(3:04) 10. Twilight in Rio

(2:10) 11. The Fiddler's Wolf Whistle

It is a bit ironic that guitarist Laurindo Almeida found himself in the 1960's jumping on the bossa-nova bandwagon a bit late for he had actually pioneered the movement a decade earlier. The Brazilian guitarist plays well enough on the 11 bossa tunes included on this out-of-print Lp (mostly originals plus covers of "The Girl From Ipanema," "Manha De Carnaval" and "Quiet Nights Of Quiet Stars") but the arrangements (which sometimes utilize the whistling of Jack Marshall, George Field's harmonica and flutist Harry Klee among others) are commercial and overly concise; all but two of the songs are under three minutes. Irene Kral's two vocals (quite early in her career) are a plus and the music is quite pleasing but there are no surprises. ~ Scott Yanow  http://www.allmusic.com/album/guitar-from-ipanema-mw0000573855

Personnel: Laurindo Almeida (guitar); Irene Kral (vocals); Jack Marshall (whistling, guitar); Al Hendrickson (guitar); Fafá Lemos (violin); Harry Klee (flute); George Fields (harmonica); Djalma Ferreira (organ).

Guitar from Ipanema    

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David Reinhardt - Spiritual Project

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 54:48
Size: 125,7 MB
Art: Front

(4:07)  1. Deux anges
(2:23)  2. There Is a Quiet Place
(4:31)  3. Paix sur terre
(5:32)  4. Conversion
(4:26)  5. Gloire et honneur
(6:29)  6. Nouvelle naissance
(6:16)  7. Jean 3.16
(4:04)  8. Tu Palabra
(5:00)  9. Je veux etre pret
(4:05) 10. Geneza
(3:59) 11. Who Would Imagine a King
(3:50) 12. Oh Happy Day

"This new album is born following an upheaval in my personal life. I asked myself many questions about life, death ... and I had a great need for spirituality. So I made a U-turn on myself and changed direction. This has inevitably been felt on my music. I wanted to convey these experiences but how? With words it's so hard! So I started composing. First "Conversion" and "New Birth." Then appeared in me the desire to start a band with musicians who share these values and want to convey a message of peace and love. 

It was then that I composed "Peace on Earth". For this album, I wanted a real sound group, each of the musicians put to music service, and "Glory and honor" who returns to duty .... I wanted to add to the original compositions masterpieces gospel directory such that "There is a quiet place" arranged by the group that my father introduced me to when I was three. This is my first memory of music " ~ David Reinhardt http://davidreinhardt.fr/spiritual-project/

Spiritual Project

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Joey DeFrancesco - Live: The Authorized Bootleg (Feat. George Coleman)

Size: 148,5 MB
Time: 64:10
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz: Modern Jazz, Hammond Organ
Art: Front & Back

01. Introduction ( 0:45)
02. Cherokee ( 9:17)
03. Ceora (Feat. Colleen McNabb) (13:50)
04. I'm In The Mood For Love ( 6:36)
05. On Green Dolphin Street (10:47)
06. Little Girl Blue (11:48)
07. Autumn Leaves (11:04)

Organist Joey DeFrancesco deserves credit for showcasing some comparatively neglected voices on the music scene, like tenor saxophonist Houston Person and clarinetist Mort Weiss. George Coleman, the featured guest on this outing, came up playing alto (Lee Morgan, City Lights, Blue Note 1957), though he would soon shift exclusively to tenor while retaining much of the smaller horn's high-register emphasis. A recently-issued 1963 Miles Davis concert with Coleman (Live at Monterey, Concord 2007) is so spellbinding it might lead to questions about Davis' judgment in replacing him with Wayne Shorter. Shorter chose abstract musical paths and, later, fusion, while Coleman remained close to the beleaguered center, continuing to fan the flames of hard bop in NYC Village quintets with frontline partner Danny Moore (whatever happened to this gifted trumpeter?) and New York power pianist Harold Mabern.

Always an imposing physical specimen, Coleman appears to have kept himself in shape musically as well. His favoring of the treble register of the horn is in evidence throughout, though of late he's introduced a degree of overcompensating support to his tones, which once bore a striking resemblance to the effortless altissimo of John Coltrane. Still, one could argue that the extra rawness makes him a better complement to the explosive rhetoric of DeFrancesco's B3. Whereas formerly the beauty of Coleman's playing frequently lay, like Davis' minimalism, in what was implied, his playing on this date, as DeFrancesco acknowledges during the program, is that of a man who "means business." The tones are frequently impassioned cries, the altissimos played not merely to the back row at Yoshi's but entering a sonic field ringing of quantum mechanical physics as much as tough-tenor testifying.

The program opens with a fearlessly flying "Cherokee" and adheres throughout to a mainstream melodic/harmonic line. Rather than attempt to run the changes and keep up with the rapid-fire articulations that a bop-minded player, or younger Coleman, might find hard to resist, the mature player opportunistically chooses his spots, frequently finding his way to the outer spatial regions of his horn's reach, occasionally adding an extra wallop to his phrases with a "phase-shifting," alternate-fingered climactic top tone. The approach is arguably problematic on Lee Morgan's artfully-constructed "Ceora," which simply refuses to cooperate with excessive tampering let alone bullying. Attempts to overpower its intricate melody or disturb its delicate harmonies can easily come off as unnecessary roughness. Also, recalling the inspired musical marriages of vocalists and tenor giants (Billie Holiday and Lester Young, Etta Jones and either Houston Person or Gene Ammons), where is Coleman during Colleen McNabb's time on the bandstand?

These quibbles aside, the combative veteran stands up to both the heavy-duty machine invented by Mr. Hammond and the indomitable playing by its present-day master as though the outcome were a foregone conclusion: as anyone should know, the man who "means business" seems to be saying, if you plan on having a musical street fight, and one of the pair is brandishing a Hammond B3, never bet against the guy with a Selmer Mark VI. ~by Samuel Chell

Personnel: Joey DeFrancesco: organ; George Coleman: tenor saxophone; Jake Langley: guitar; Byron Landham: drums; Colleen McNabb: vocal (on "I'm in the Mood for Love").

Live: The Authorized Bootleg

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Ernestine Anderson - Live In New Orleans

Size: 127,0 MB
Time: 54:59
File: MP3 @ 320K/s
Released: 2016
Styles: Soul Blues, Jazzy Blues, Vocals
Art: Front

01. Autumn Leaves (11:08)
02. All I Need Is You (Live) ( 3:51)
03. All Blues (Live) ( 7:44)
04. I'm Walking (Live) ( 4:04)
05. What's New (Live) ( 5:34)
06. Sunny (Live) ( 6:04)
07. Please Send Me Someone To Love (Live) ( 4:06)
08. Thought About You (Live) ( 6:09)
09. Never Make Your Move Too Soon (Live) ( 6:16)

Scatting, talking along, singing, Ernestine Anderson wraps herself around a tune. Emerging in the ‘50’s with a hit album in 1956, she was hailed among the best, just behind Ella Fitzgerald and Sarah Vaughan. Recorded here in the ‘80’s, she’s in stride, in tune, her rich voice pulled along by the beat. Playing with her on this program, taped at Dukes Place atop the Monteleone Hotel in New Orleans French Quarter, are Terry Gibbs (vibes), Buddy DeFranco (Clarinet), Lou Levy (Piano), Bob Maize (bass) and Ray Mosca (drums). Her bluesed-up rendition of Fats Domino’s “I’m Walkin” is a real treat.

Live In New Orleans

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Scott Hamilton & Harry Allen - Live!

Size: 157,9 MB
Time: 68:29
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Apple Honey (Live) (14:35)
02. The Lonesome Road (Live) (10:04)
03. Tickle Toe (Live) ( 9:07)
04. A Sound Investment (Live) (11:06)
05. Body And Soul (Live) ( 8:48)
06. Blues Up And Down (14:46)

Scott Hamilton:
When Scott Hamilton appeared in the mid-'70s fully formed with an appealing swing style on tenor (mixing together Zoot Sims and Ben Webster), he caused a minor sensation, for few other young players during the fusion era were exploring pre-bop jazz at his high level. He began playing when he was 16 and developed quickly, moving to New York in 1976. Hamilton played with Benny Goodman in the late '70s, but he has mostly performed as a leader, sometimes sharing the spotlight with Warren Vache, Ruby Braff, Rosemary Clooney, the Concord Jazz All-Stars, or George Wein's Newport Jazz Festival All-Stars. Other than a few sessions for Famous Door and Progressive, Hamilton has recorded a long string of dates for Concord that are notable for their consistency and solid swing. ~by Scott Yanow

Harry Allen:
Fathers serious about seeing their sons one day becoming famous athletes begin developing their offspring's skills at a very young age. In the case of Harry Allen's father, who was a big-band drummer, he played jazz records each day for Harry before he went off to kindergarten. Starting off with accordion lessons, there was a fortuitous switch to saxophone later. Attending Rutgers University, Allen studied saxophone with Sahib Shihab, Bob Mintzer, and John Purcell. In 1989, he graduated from Rutgers with a degree in jazz tenor saxophone. While at Rutgers, Allen got his first gig with the help of master bass player Major Holley, where he replaced Zoot Sims at a studio recording with John Bunch, George Masso, Bucky Pizzarelli, and Ruby Braff. During the session, Dizzy Gillespie dropped by. Quite heady company for a young tenor player doing his first recording. Wholley also led Allen to Oliver Jackson, who Allen subsequently accompanied on several tours to Europe. A 1986 session with Kenny Barron was Allen's first recording date. After that, Allen had 19 recordings to his name for such labels as Progressive, Audiophile, and Nagel-Heyer. Later, his recordings were with major label RCA-Victor. Three of his discs have been awarded a Gold Disc by Swing Journal Magazine and his CD Tenors Anyone won both the Gold Disc and New Star awards. He has recorded as a sideman with Bucky Pizzarelli (with whom he performs quite frequently), Warren Vache, and Jeff Hamilton. Allen's musical inspiration and interpretive approach come from the giants and innovators of mainstream saxophone, including Coleman Hawkins, Ben Webster, Stan Getz, Illinois Jacquet, and Lester Young. Unlike many of his contemporaries, Allen has pretty much eschewed the modern, avant-garde, and impressionist schools of jazz of John Coltrane, Archie Shepp, and Ornette Coleman. Allen continues to record extensively and makes frequent appearances at jazz festivals and concerts. ~by Dave Nathan

Live!

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Randy Weston - Two Steps From The Blues

Bitrate: MP3@320K/s
Time: 77:22
Size: 177.1 MB
Styles: Piano jazz
Year: 2015
Art: Front

[4:28] 1. Just One Of Those Things
[5:03] 2. Again
[4:08] 3. Where Are You
[3:07] 4. I've Got You Under My Skin
[4:39] 5. In The Still Of The Night
[4:19] 6. A Ballad
[2:51] 7. Fire Down There
[6:30] 8. Once In A While
[3:35] 9. If You Could See Me Now
[5:15] 10. Bass Knows
[4:08] 11. We'll Be Together Again
[3:56] 12. Summertime
[3:55] 13. Little Girl Blue
[6:53] 14. Solemn Meditation
[4:02] 15. Lover
[2:57] 16. I Love Her
[3:41] 17. Pam's Waltz
[3:47] 18. It's All Right With Me

After contributing seven decades of musical direction and genius, Randy Weston remains one of the world's foremost pianists and composers today, a true innovator and visionary.

Encompassing the vast rhythmic heritage of Africa, his global creations musically continue to inform and inspire. "Weston has the biggest sound of any jazz pianist since Ellington and Monk, as well as the richest most inventive beat," states jazz critic Stanley Crouch, "but his art is more than projection and time; it's the result of a studious and inspired intelligence...an intelligence that is creating a fresh synthesis of African elements with jazz technique".

Two Steps From The Blues

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Dena DeRose - Love's Holiday

Bitrate: MP3@320K/s
Time: 63:15
Size: 144.8 MB
Styles: Jazz vocals
Year: 2002
Art: Front

[4:52] 1. Lover
[4:48] 2. I Thought About You
[4:56] 3. I Didn't Know What Time It Was
[4:14] 4. The Good Life
[7:15] 5. Close Your Eyes
[4:58] 6. The Iris
[5:21] 7. On Green Dolphin Street
[7:41] 8. Birk's Works
[4:47] 9. But Beautiful
[4:46] 10. marian's mood
[4:02] 11. Lamp Is Low
[5:30] 12. The Nearness of You

Dena DeRose Piano, Vocals; Peter Washington Bass; Matt Wilson Drums; Joe Locke Vibes (4,5,6,8); Jim Rotondi Trumpet (3,6,8,11); Steve Davis Trombone (3,4,6,8,11); Tony Kadleck Trumpet/Flugel (4,6,11); Sara Della Posta French Horn (4,6,11); Brian Lynch Trumpet (9); Bill Charlap Piano (12).

To those who have seen Dena DeRose perform, it is immediately apparent that she is a compelling singer and pianist. What is not so obvious is the fact that she also arranges and often composes the tunes she performs. here Dena discusses some of the thoughts and considerations that went into five of the peformances on this recording; four classic American songbook tunes and one of her original compositions.

"In general, I try to interpret a tune by examining the relationship between its melodic/harmonic structure and the meaning of the lyric --- filtered, of course through my life experiences."

Love's Holiday

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The Tony Corbiscello Big Band - Real Time

Bitrate: MP3@320K/s
Time: 46:58
Size: 107.5 MB
Styles: Big band
Year: 2004
Art: Front

[3:18] 1. You'd Better Love Me
[2:46] 2. A Beautiful Friendship
[3:09] 3. Moonglow
[1:54] 4. The Lady's In Love With You
[3:22] 5. Bossa Margherita
[2:49] 6. I Got It Bad And That Ain't Good
[2:27] 7. Putter'n Around
[2:15] 8. I Cried For You
[3:21] 9. Easy Street
[2:49] 10. Let's Fall In Love
[2:17] 11. Don't Get Around Much
[3:43] 12. As If We Never Said Goodbye
[2:35] 13. Blue Moon
[2:53] 14. The Lady Is A Tramp
[3:23] 15. You're My Thrill
[3:48] 16. In A Mellotone

Tony Corbiscello (drums); James Chirillo, Bucky Pizzarelli (guitar); Alan Gauvin (clarinet, alto saxophone); David Bixler, Mark Gross (alto saxophone); Doug Lawrence, Mark Phaneuf, Jim "The Royster" Perry (tenor saxophone); Dave Stahl, John Eckert, Patrick Rickman, Danny Cahn (trumpet); Steven Bleifuss (trombone); Matt Ingman (bass trombone); Mike Capobianco, Benny Aronov, Isaac Ben Ayala (piano); Tom Swift (percussion).

Raised in Fort Lee, New Jersey, Corbiscello first played drums in a marching band, then played in pop groups but, inspired by star drummers Gene Krupa and Buddy Rich, he turned to jazz. He studied music with trumpeter Pee Wee Erwin who in turn directed him to Sonny Igoe, former drummer with Benny Goodman (1948-49) and Woody Herman (1950-52), who had become a highly regarded teacher in New Jersey. Following graduation from Fairleigh Dickinson University, Corbiscello played drums with several jazz groups, mostly in and around New Jersey and New York, in particular with guitarist John Pizzarelli with whom he played in the early 90s. Most of the engagements with Pizzarelli were in small groups, but he was also in a big band the guitarist assembled to back Frank Sinatra at concerts in 1992 and which also included bass player Martin Pizzarelli.

Corbiscello also played with Bucky Pizzarelli, appeared at the Montreal Jazz Festival, Jacksonville Jazz Festival, Mt. Hood Jazz Festival and played with the New York Pops and the Atlanta Symphony Orchestra. He also led his own big band for dates in his home state, including appearing in Atlantic City, playing concerts and also providing the music for visiting entertainers such as Bob Hope. Corbiscello also played club and hotel engagements in New York City. He died of cancer in 2006.

Real Time

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Howard McGhee - Life Is Just A Bowl Of Cherries

Bitrate: MP3@320K/s
Time: 35:54
Size: 82.2 MB
Styles: Bop, Trumpet jazz
Year: 2015
Art: Front

[3:49] 1. Sonny Boy
[2:26] 2. So Blue
[3:01] 3. Broken Hearted
[3:11] 4. The Thrill Is Gone
[3:13] 5. Good News Just Imagine
[2:59] 6. I'm A Dreamer Aren't We All
[3:05] 7. My Song
[2:49] 8. The Best Things In Life Are Free
[2:50] 9. Life Is Just A Bowl Of Cherries
[2:06] 10. Together
[3:10] 11. Come To Me
[3:09] 12. My Sin

Howard McGhee (tp) Danny Bank, Phil Bonder, Sid Brown, Leon Cohen, Herbie Mann (sax) Donn Trenner (p) Al Caiola (g) Arnold Fishkin (b) Osie Johnson, Don Lamond (d) Frank Hunter (arr, dir) recorded NYC, February 14 & 15, 1956.

An orchestral setting for McGhee’s distinctive trumpet, treading a narrow path between jazz and Fifties Hollywood music score. Consisting entirely of familiar standards and a little sacharin at times, it nevertheless has its moments, and you could be forgiven for thinking you had somehow been transported back in time to the Nineteen Fifties.

Life Is Just A Bowl Of Cherries

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Cecil Taylor - Love For Sale

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 50:27
Size: 116,9 MB
Art: Front

( 9:14)  1. Get Out Of Town
( 5:14)  2. I Love Paris
( 8:17)  3. Love For Sale
( 9:07)  4. Little Lees (Louise)
(10:16)  5. Motystrophe
( 8:16)  6. Carol/Three Points

This may be the straightest record Cecil Taylor ever recorded, but it is far from uninspiring. Despite its hopelessly gauche cover one can only presume Taylor had no say-so in the choice of artwork used Taylor's approach to three Cole Porter tunes with a trio and three of his own with a quintet is a lively combination, and one which, in lieu of his later work, reveals the construction of his system of improvisation better than his later records do when he is playing from the middle of it. Accompanied by Dennis Charles on drums and Buell Neidlinger on bass, Taylor dives deep into Porter's "I Love Paris," a shifty little pop song. Taylor goes head to head with Neidlinger in a contrapuntal statement of the melody  illustrated by chord changes which are extrapolated from the melodic sequence against harmony before actually flowing into the main theme of the tune for a moment before kicking the rhythm section loose and treating the tune percussively, almost as if it were a series of rhythm changes instead of harmonic ones. 

On the title track it's much the same, except Taylor's tenderness shines through in his lilting right hand in the middle as he trades fours with Charles. There's a wonderful cut-time tempo here, and Taylor starts building scales harmonically in his solo only to answer them with the melody and original harmony. With his own three tunes, with trumpeter Ted Curson and saxophonist Bill Barron added to the fray, Taylor takes more chances. On "Little Lees (Louise)," he scores in an elaborate melody that is played without dissonance by the horn section as he and Neidlinger play entirely in counterpoint. But here, too, there is a sublime lyricism at work; there are no extra notes or chords, and everything falls in line with the chromatic architecture Taylor composes with. "Maities Trophie" is Taylor ringing in a blues jam à la Ellington or at least his version of Ellington. The solos by Curson and Barron are tight, narrative, and bordering on swing, but all that's taken care of by Taylor's solo. Love for Sale is a delightful anomaly in Cecil Taylor's long career. ~ Thom Jurek  http://www.allmusic.com/album/love-for-sale-mw0000038935

Personnel: Cecil Taylor (piano); Bill Barron (tenor saxophone); Ted Curson (trumpet); Buell Neidlinger (bass); Dennis Charles (drums).

Love For Sale

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Lola Haag - Here I Go Again...

Styles: Vocal Jazz

Year: 2013

File: MP3@320K/s

Time: 48:09

Size: 111,4 MB

Art: Front

(3:47)  1. The Way You Look Tonight

(3:58)  2. Is You Is, Or Is You Ain't My Baby?

(4:05)  3. I've Grown Accustomed to His Face

(4:21)  4. Let's Fall in Love

(3:41)  5. New York State of Mind

(3:46)  6. Blame It on My Youth

(2:32)  7. Sway

(3:36)  8. Let There Be Love

(2:16)  9. You're Getting to Be a Habit with Me

(3:10) 10. Why Don't You Do Right?

(3:26) 11. Taking a Chance on Love

(3:39) 12. Georgia on My Mind

(2:45) 13. Give Me the Simple Life

(3:02) 14. Somewhere over the Rainbow

“Here I Go Again…” is a collection of some of Lola’s favorite songs. Coincidentally, they are also among the most requested songs that Lola performs in her live jazz shows. Carefully selected tunes transport the listener to a relaxed and romantic resort where they can completely unwind, sway and enjoy the lilt of the music, performed in Lola’s inimitable style. Lola never sings a song the same way twice and this CD captures the spontaneity of that playfulness! She collects songs with wonderful lyrics like some women collect fine jewelry. Nothing thrills her more than to enter into a song’s emotional message and present that to the listener as a personal, beautifully wrapped gift to enjoy time and time again.  http://www.cdbaby.com/cd/lolahaag13

Here I Go Again  

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Ben Powell - New Street

Size: 127,5 MB
Time: 55:03
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz
Art: Front

01. Judith (7:52)
02. New Street (6:42)
03. Monk 4 Strings (5:45)
04. Gary (Feat. Gary Burton & Julian Lage) (5:59)
05. What Is This Thing Called Love (Feat. Adrien Moignard) (4:19)
06. Sea Shell (3:21)
07. La Vie En Rose (Feat. Linda Calise) (5:06)
08. Swingin' For Stéphane (4:57)
09. La Chanson Des Rues (Feat. Gary Burton & Julian Lage) (5:55)
10. Piccadilly Stomp (Feat. Gary Burton & Julian Lage) (5:01)

"The passing of the torch" is a tad cliche...so is referring to an artist such as Ben Powell as "the future of modern jazz" but both are just about as accurate as one can get. Powell's sophomore effort is a somewhat historical two recordings built into one auspicious presentation that is as solid and exciting an effort as you will find.

Ben Powell is a self produced classical prodigy whose penchant for jazz not to mention a myriad of other influences has directed his artistic sense of self to explore his inner self in such a fashion as to chart his own unique path in the artistic community. There have been several notable violin releases over the past six months and while all are of the highest caliber there is something special tied into Power and New Street. The release itself if divided into two parts with the first as a special tribute for famed Hot Club pioneer Stephane Grappelli which includes Gary Burton and another rising phenom in guitarist Julian Lage and the second the Ben Powell Quartet and where they are today.

The Ben Powell Quartet is an exciting offering of odd meter and sophisticated harmonic development which is best on display with the title track "New Street." Powell opens with an intimate and tender ballad "Judith" with a subtle Bach reference in the final bars but the chemistry with pianist Tadataka Unno, bassist Aaron Darrell and drummer Devin Drobka is a joy to listen to unfold and envelope the listener is a kind of emotional revelry seldom heard in such a setting.

The more historical significance to the release is the tune "Gary" which was written by Stephane Grappelli for Burton but oddly enough has never been recorded for release until now. Powell does an exemplary job and the interplay with Burton and Lage is indeed a special moment. "La Chanson Des Rues" is another stunning performance featuring Burton and Lage on a familiar French melody offten played by Grappelli.

When hearing "violin" one often thinks of Grappelli but perhaps more often than not continues to a more classical frame of reference. It may be Powell's classical virtuosity that pushes this release over the top but "New Street" is indeed a new direction for modern jazz and will chart a special and unique course for others to follow. ~by Brent Black

New Street

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Uta Habbig - Windward

Size: 102,1 MB
Time: 42:24
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Windward (4:48)
02. Overseas (3:24)
03. Hope Is The Thing With Feathers (4:40)
04. How To Fly (3:57)
05. Winter Song (5:48)
06. Baby Blue (4:15)
07. Sleeping In My Car (3:29)
08. Reach Out (3:25)
09. Do You Dance (3:44)
10. Sound Of Goodbye (4:50)

„Uta is an inspiring artist with an unmistakably intuitive gift. Her poetic writing and her turns of phrase are so deft and graceful that one senses the presence of a very old soul. There is searching honesty and indefatigable need to express it.“ This says composer and pianist Kirk Nurock about Uta Habbig who is not only a unique vocalist and composer, but also an extraordinary lyricist.
Exploring the wide musical landscape of jazz, she transforms any song into her very own musical work of art. With her endearing and colorful sound the multi-talented singer has intrigued audiences all over Europe which ultimately brought her to the melting pot of Jazz - New York City. Combining elements of jazz, classical and folk music Uta has surrounded herself with outstanding musicians from her generation to play all over the city that never sleeps.
Born and raised in Cologne, Germany, Uta started playing piano and violin at a the age of five. Brought up listening to and performing mainly the music of Bach, Mozart and Beethoven Uta at first earned her master degree in music education at the Hochschule für Musik und Theater Leipzig, Germany. During her studies she spent 6 months in Sevilla, Spain at the Conservatorio Superior de Musica with an Erasmus scholarship , before she finally persued her wish to study jazz at the Conservatorium Maastricht, Netherlands with german jazz singer Sabine Kühlich. She was awarded a scholarship for one year by the prestigious New School for Jazz and Contemporary Music in New York where she completed her education and met the musicians with whom she formed her Uta Habbig Band. She studied with world famous musicians such as Kirk Nurock, Reggie Workman, Billy Harper, Becca Stevens, Richard Harper, and many more.
Uta received the first price of the Vocal Jazz Award Maastricht (2013) and has been taking part in many different masterclasses with Sheila Jordan, Peter Eldridge, Judy Niemack, Arie Hoenig, Peter Bernstein, Gary Versace, Seamus Blake as well as different Jazz Festivals such as Langnau Jazz Festival.
„Music is really the only thing that has always and will always make sense to me, despite all that craziness life has to offer“, Uta says when one asks her about her passion for music. She has worked as an educator, teaching private lessons for vocalists and choirs as well as leading cultural and educational projects.

Windward

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Scenario - Jazz The Beatles

Size: 142,5 MB
Time: 61:13
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz: Hammond Organ
Art: Front

01. Help! (4:13)
02. I Am The Walrus (5:51)
03. Blue Jay Way (6:20)
04. Come Together (6:29)
05. Happiness Is A Warm Gun (4:27)
06. Lucy In The Sky With Diamonds (6:50)
07. Julia (2:34)
08. Dig A Pony/Don't Let Me Down (5:23)
09. Norwegian Wood (6:13)
10. Helter Skelter (8:49)
11. Her Majesty (3:59)

Very nice interpretation of Beatles songs in a jazzy way. With Alberto Marsico on Hammond B3, Simone Santino plays sopranino and Enzo Zirilli on Drums

Jazz The Beatles

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Denny Earnest - One Rose At A Time

Size: 111,9 MB
Time: 47:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Undeniably You (4:01)
02. Here We Are (3:58)
03. One Rose At A Time (4:18)
04. You Know I've Got To Have You (3:19)
05. Hold You (Like I Do In Dreams) (4:18)
06. The Lost Lounge (3:33)
07. I Love How She Cooks (3:24)
08. I Will Always Hold You (3:43)
09. My World Is Grey (4:54)
10. Who's Right Who's Wrong (3:20)
11. Would You Sleep With Me (4:08)
12. Open My Eyes (4:22)

Ray Charles, Frank Sinatra, Chet Baker, Dr. John, were all inspirations in my songwriting and singing career, this album was done with their shadows overlooking my shoulder at all times. With the help of pianist Pat Felitti, and bassist Bill Watson, we made it swing our way. It harkens back to the time of big bands with horn sections, strings, the "Q" doing the arranging, those were the times I remember, classic LP'S all of them.

My style of writing is based on the Earnest-onian mode, altered, extended, diminished, raised to the highest 5th, finished off with a strong male vocal on top, with lots of room for improvisation by Pianist Pat Felittti NYC, and Bill Watson, Kent Ohio. Reminiscent of Frank’s (60’s) Reprise recording, with a little Ray Charles thrown in to boot.

Lately I've made a living writing for TV/Film, working with many Publishers and Labels getting those coveted TV cuts. I started off my audio visual career in 1996 with a cut on “Friends” with “One In the Tiny Tee”, and I haven't looked back. My shows in 2015-6 include The Originals CWTV, 12 Monkeys, Sci Fi Channel, Amazon Primetime, Wahlburgs, Lockup, to name just a few, tons of cable.

My musical philosophy is, I like to write changes to jam or to sing to, this recent Jazzier sojourn I've had fun but challenging time. “I’ve always wanted to write in this classic style, I’ve never been comfortable just to sing covers, so I wrote a whole bunch of my own, hopefully they'll stick in some way.

One Rose At A Time

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