Dee Daniels - Wish Me Love

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 45:19
Size: 103,8 MB
Art: Front

(3:49)  1. Come Rain Or Come Shine
(4:05)  2. Time After Time
(5:51)  3. God Bless The Child
(4:49)  4. Love Inside
(3:33)  5. Sweet Georgia Brown
(3:55)  6. How Long Has This Been Going On?
(5:06)  7. Tonight I Won't Be Singing No Blues
(4:15)  8. Here's That Rainy Day
(4:51)  9. Love Is Here To Stay
(4:58) 10. Sometimes I Feel Like A Motherless Child

For singer Dee Daniels, getting to sing with the Metropole Orchestra on this recording must have been the realization of a dream of a lifetime. Influenced by R&B, gospel, and Sarah Vaughan, Dee Daniels (who had spent a period of time living in Holland and Belgium in the 1980s, admiring the Metropole Orchestra from afar), Daniels does her best on eight soulful standards and two of her originals, singing over the huge orchestra with arrangements by Rob Pronk and John Clayton. Best are "Come Rain or Come Shine," "Sweet Georgia Brown," "Tonight I Won't Be Singing No Blues," and "Sometimes I Feel Like a Motherless Child." Daniels' way of singing has been mined by many but she does it quite well, putting her own brand of soul into each phrase. ~ Scott Yanow  http://www.allmusic.com/album/wish-me-love-mw0000647799

Wish Me Love

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Johnny Nocturne Band - Good To The Damn Bone

Styles: Jazz, Swing, Big Band

Year: 2007

File: MP3@320K/s

Time: 41:33

Size: 95,5 MB

Art: Front

(4:23)  1. Harlem Nocture

(2:54)  2. Slippin' & Slidin'

(3:15)  3. You're Nobody Till Somebody Loves You

(4:11)  4. The Stuff You Gotta Watch

(5:07)  5. Good to the Damn Bone

(3:04)  6. When Did You Leave Heaven

(2:53)  7. I Can't Stop It

(4:06)  8. Down in the Flats

(3:12)  9. You Don't Know

(3:51) 10. That Cat's Evil

(4:31) 11. The Driver

This Johnny Nocturne CD is unique in that it features all three vocalist that have worked with the band over the years. All the tracks are previously unreleased. Brenda Boykin performs a beautiful rendition of "When Did You Leave Heaven," Kim. Nalley is her usual sassy self with "That Cat's Evil," Ms. Dee comes on with a bluesy take on "You're Nobody Till Somebody Loves You." Firmin and the band continue with the unique mix of jump blues, small band swing and soul jazz. "Good to the Damn Bone," is the first tenor sax, B-3 instrumental feature by the band. Firmin and Henry Salvia swing through this classic Willis Jackson blues head. This CD is a good introduction to this band if you haven't heard them yet. And a must addition to any previous Nocturne CDs. http://www.johnnynocturne.com/discog.html

Personnel:  John Firmin / Johnny Nocturne: tenor sax and leaser;  Henry Salvia: piano and organ;  Alex Baum: bass;  Anthony Paule: guitar;  Keny Bryson and Terry Baker: drums;  Marty Wehner and Derek James: trombone; Rob Sudduth, Marlo Green and Danny Bittker: baritone sax;  Pete Sembler and Bill Ortiz: trumpet; band and Kurt Pasch: background shouts.

Good To The Damn Bone

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Chris Minh Doky - Cinematique

Styles:  Jazz, Contemporary Jazz
Year: 2002
File: MP3@320K/s
Time: 53:42
Size: 123,3 MB
Art: Front

(6:45)  1. James Bond
(4:48)  2. Goldfinger
(6:12)  3. Nothing to lose
(4:32)  4. Tossed salad & scrambled eggs
(7:40)  5. Merry Christmas Mr. Lawrence
(6:16)  6. My favorite things
(6:21)  7. Sleepless dream
(5:02)  8. Rue Hautefeuille
(6:02)  9. Godfather

Chris comments: "After playing with my acoustic funk band for several year, I missed playing in a more open and loose situation. I wanted to take a break from the funk band. When I joined Michael Brecker's band in 2001, it was not only a huge pleasure playing with these guys, but it also made me realize how much I missed playing straight-ahead. I started doing gigs with the trio again and it was clear from jump that my next album (this one) was going to be a jazz trio album. We began recording this album, the day after getting off the road with Joey and Tain. It was so much fun hanging out with my old friends and it was so easy. Almost all takes are first takes..." Chris offers on Cinematique special brilliant interpretations of film melodies like James Bond and Nothing To Loose. Mesmerizing and captivating is Toots, Joey and Chris intimate revival of Goldfinger. Merry Christmas Mr. Lawrence originally composed by Ryuichi Sakamoto is a further highlight of this album. Cinematique is an album especially for all lovers of acoustic bass.  http://www.smooth-jazz.de/starportrait/Doky/Retrospective.htm

Personnel:  Chris Minh Doky - Acoustic Bass;  Bireli Lagrene – Guitar;  Larry Goldings – Piano;  Joey Calderazzo – Piano;  Makoto Ozone – Piano;  Bill Stewart – Drums;  Jeff "Tain" Watts – Drums;  Clarence Penn – Drums;  Toots Thielemans - Harmonica

Cinematique

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Wes Montgomery Feat. Eddie Higgins Trio - One Night In Indy

Styles: Guitar Jazz
Year: 1959
File: MP3@320K/s
Time: 41:57
Size: 96,8 MB
Art: Front

(9:15)  1. Give Me The Simple Life
(5:53)  2. Prelude To A Kiss
(7:12)  3. Stompin' At The Savoy
(8:09)  4. Li'l Darlin
(8:35)  5. Ruby, My Dear
(2:51)  6. You'd Be So Nice To Come Home To

Following the 2012 release of Resonance's archival set Echoes of Indiana Avenue, author, photo journalist, and private collector Duncan Schiedt approached the label to see if they'd be interested in releasing a live tape of Wes Montgomery he owned. It was a 1959 set where the guitarist sat in with the Eddie Higgins Trio, then featuring drummer Walter Perkins (and also an unknown bassist). Resonance arranged for the rights and released One Night in Indy in 2016. Montgomery's star was just beginning to rise he recorded two sessions for Riverside in 1958 and Higgins established himself as an attraction on the Chicago circuit but, at this time, they were essentially operating on the same level of stardom and, appropriately enough, this date showcases them equally, with Montgomery's rich runs nicely accentuating the elegance of Higgins. If the audio is a little rough at times the set was recorded on a homemade recorder in 1959, after all  the performances never are: even when the tempo starts cooking on "Stompin' at the Savoy," this music rolls easy and the appeal is that mellow yet lively interplay, as each leader seems to want nothing more than to play off of the other. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/one-night-in-indy-mw0002836451

Personnel:  Wes Montgomery – guitar;  Eddie Higgins – piano;  Walter Perkins - drums

One Night In Indy

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Diane Schuur - Love Walked In

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 36:18
Size: 83,2 MB
Art: Front

(2:15)  1. Love Walked In
(3:20)  2. Time After Time
(4:04)  3. Say It Isn't So
(3:05)  4. Blue Gardenia
(4:50)  5. Never Let Me Go
(3:51)  6. Nothing Ever Changes My Love For You
(4:00)  7. Sunday Kind Of Love
(3:36)  8. How Deep Is The Ocean
(2:36)  9. You're A Sweetheart
(4:35) 10. I Wanna Be Loved

This set of ten concise standards (which totals in at around 36 minutes) finds Diane Schuur singing in prime form. The interpretations are straightforward, without much improvising, although Schuur is quite soulful, showing the influence of late-period Dinah Washington (whose hit "Blue Gardenia" she revives). The excess of Schuur's early years is gone, and in its place is a warm, contented voice that sounds best on such ballads as "Say It Isn't So" and "How Deep Is the Ocean," as well as the swingers "Love Walked In" and "You're a Sweetheart." There are occasional short solos for trumpeter Jack Sheldon, trombonist Andy Martin and the tenor of Pete Christlieb, but this is very much Schuur's show. A fine effort. ~ Scott Yanow  http://www.allmusic.com/album/love-walked-in-mw0000186323

Personnel: Diane Schuur (vocals); Pete Christlieb, Gary Foster (saxophone); Jack Sheldon, Wayne Bergeron (trumpet); Andrew Martin (trombone); Richard Todd (French horn); John T. Johnson (tuba); Assa Drori (concert master); Michael Wofford (piano); Philip Upchurch (guitar); John Patitucci (bass); John Guerin (drums).

Love Walked In

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Houston Person, Ron Carter - Now's The Time

Styles: Saxophone Jazz, Hard Bop, Soul Jazz
Year: 1997
File: MP3@320K/s
Time: 48:35
Size: 113,3 MB
Art: Front

(5:25)  1. Bemsha Swing
(5:09)  2. Sping Can Really Hang You Up The Most
(5:03)  3. Einbahnstrasse
(4:55)  4. Memories Of You
(6:47)  5. Quiet Nights
(6:38)  6. If You Could See Me Now
(3:50)  7. Now's The Time
(7:11)  8. Since I Fell For You
(3:35)  9. Little Waltz

In the 1990s, Houston Person kept the soulful thick-toned tenor tradition of Gene Ammons alive, particularly in his work with organists. After learning piano as a youth, Person switched to tenor. While stationed in Germany with the Army, he played in groups that also included Eddie Harris, Lanny Morgan, Leo Wright, and Cedar Walton. Person picked up valuable experience as a member of Johnny Hammond's group (1963-1966) and became a bandleader in the following years, often working with the late singer Etta Jones. A duo recording with Ran Blake was a nice change of pace, but most of Houston Person's playing has been done in blues-oriented organ groups. He recorded a consistently excellent series of albums for Muse, eventually switching to HighNote Records for 2006's You Taught My Heart to Sing, 2007's Thinking of You, and 2008's Just Between Friends, which featured bassist Ron Carter. 

Released in 2012, Naturally, recorded at the famed Van Gelder Recording Studio, teamed Person with Cedar Walton on piano, Ray Drummond on bass, and Lewis Nash on drums. He quickly returned with the similarly inclined 2013 effort Nice 'n' Easy, followed a year later by The Melody Lingers On. In 2015, Person delivered the rootsy and soulful Something Personal. ~ Scott Yanow  https://itunes.apple.com/us/artist/houston-person/id15404793#fullText

Ron Carter (born Ronald Levin Carter, May 4, 1937) is an American jazz double bassist. His appearances on over 2,000 albums make him one of the most-recorded bassists in jazz history. Carter is also a cellist who has recorded numerous times on that instrument. Some of his studio albums as a leader include: Blues Farm (1973); All Blues (1973); Spanish Blue (1974); Anything Goes (1975); Yellow & Green (1976); Pastels (1976); Piccolo (1977); Third Plane (1977); Peg Leg (1978); and A Song for You (1978). He was a member of the Miles Davis Quintet in the early 1960s, which also included Herbie Hancock, Wayne Shorter and drummer Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E.S.P.. Carter also performed on some of Hancock, Williams and Shorter's recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and many others. He was elected to the Down Beat Jazz Hall of Fame in 2012. In 1993, he won a Grammy Award for Best Jazz Instrumental Group and another Grammy in 1998 for "an instrumental composition for the film" Round Midnight  https://en.wikipedia.org/wiki/Ron_Carter

Personnel:  Houston Person (Saxophone);  Ron Carter (Bass).

Now's The Time

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Buddy Johnson And His Orchestra - 1947-1949

Styles: Piano Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 65:16
Size: 155,0 MB
Art: Front

(3:18)  1. Far Cry
(3:17)  2. Serves Me Right
(3:15)  3. You Can't Tell Who's Loving Who
(3:06)  4. Li'l Dog
(3:21)  5. I Don't Care Who Knows
(3:11)  6. I'm Tired Of Crying Over You
(2:50)  7. You Had Better Change Your Ways
(2:12)  8. If I Ever Find You, Baby
(2:34)  9. It Was Swell Knowing You
(3:10) 10. Somebody's Knocking At My Door
(3:08) 11. Someone So Sweet As You
(2:49) 12. Pullamo
(3:03) 13. As I Love You
(2:15) 14. Did You See Jackie Robinson Hit That Ball?
(3:04) 15. Lovely In Her Evening Gown
(2:50) 16. Down Yonder
(2:51) 17. Because - Part 1
(2:44) 18. Because - Part 2
(2:45) 19. That's What My Baby Says
(3:05) 20. Keep Me Close To You
(3:04) 21. Tell Me What They're Saying
(3:15) 22. Shake 'Em Up

The Buddy Johnson Orchestra was one of the few big bands that were able to stay together during the second half of the 1940s. They did that by featuring the vocals of Ella Johnson and Arthur Prysock, leaning towards R&B at times and hinting at (but not outright playing) bebop. This CD has the music from Johnson's last three sessions of 1947 and his three 1949 dates; the 1948 recording strike caused a gap. 

There were no major soloists in the band, but the musicianship was high, the vocalists (heard along with Buddy Johnson himself on all but four numbers) were excellent and there was plenty of spirit. ~ Scott Yanow  http://www.allmusic.com/album/1947-1949-mw0000618350

Personnel: Buddy Johnson (vocals, piano); Ella Johnson, Arthur Prysock (vocals); Al Robinson (clarinet, alto saxophone); Harold "Geezil" Minerve (alto saxophone); Purvis Henson, David Van Dyke (tenor saxophone); Willis Nelson, Frank Royal (trumpet); Don Cole, William Harrison, Bernard Archer, Julius Watson, Steve Pulliam (trombone); Emmanuel Simms (drums).

1947-1949

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Meta Roos - Soft Winds

Size: 132,1 MB
Time: 56:57
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz/Pop Vocals
Art: Front

01. Without A Song (3:16)
02. Soft Winds (3:23)
03. Answer Me (3:25)
04. I'll Bet You Thought I'd Never Find You (3:48)
05. Oh, Darling (4:00)
06. Evergreen (4:14)
07. September In The Rain (2:56)
08. All The Things You Are (4:15)
09. Light Out Of Darkness (3:40)
10. My Favourite Things (3:47)
11. Rio De Janeiro Blue (4:03)
12. A Nightingale Sang In Berkeley Square (5:28)
13. What A Difference A Day Makes (4:08)
14. Where Or When (2:56)
15. A Kiss To Build A Dream On (3:31)

Wiveca Margaret "Meta" Roos, born February 23, 1954 in Boda in Dalarna, is a Swedish jazz singer and revue artist.

Meta Roos was born and raised in Boda Kyrkby in Boda parish, Dalarna, but lives since 2002 in Bålsta Uppsala County. She debuted at the age of sixteen when she began singing with various dance bands in Dalarna, the greatest success she achieved with Nippe Sylwéns Band. Since 1984, she earned a living as an artist full time. In the 1980s, she sang in a dance orchestra Rosary that became popular throughout Europe.

Roos played a New Year show in Borlänge and came a few years later Peter Flack in Örebro, where she starred in four revues.

Meta Roos has performed as a singer in several films, his debut was in 1994. She sang the theme song A world full of life in the Walt Disney film The Lion King, and made mother Vesslas voice in The Animals of Farthing Wood. She has sung with several famous big bands in Sweden and toured with his own show My life as a singer. Meta Roos is also well known from the popular radio show Tele Chip Arna. ~Automatic translation

Soft Winds

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The Sam Gambarini Hammond Trio - Blue Groove

Size: 100,7 MB
Time: 39:20
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Hammond Organ
Art: Front

01. T-Bone Steak (5:08)
02. Mambo Inn (3:55)
03. Darn That Dream (4:27)
04. Invitation (6:47)
05. Billie's Bounce (4:56)
06. West Coast Blues (5:18)
07. Duffin' Around (4:53)
08. Mambo Inn (Alt. Take) (3:53)

Personnel:
Sam Gambarini: Hammond Organ
Colin Oxley: Guitar
Gideon Marcus: Drums

Sam had regular violin lessons since the age of 12 and at 14 became interested in keyboard instruments, the Hammond organ in particular. After a period of private jazz piano tuition with local teachers within the area of his native Rimini in Italy he joined the CPM (Centro Professione Musica) in Milan. Here he obtained a jazz piano diploma receiving tuition from the renowned pianist Franco D’andrea. During the same years he completed a university degree in music (DAMS) and he also attended the summer jazz clinics of Siena Jazz.

From the year 2000 Sam has lived in London. Here he studied with the British organ legend Mike Carr and obtained a First Class Honours Degree in jazz music from Middlesex University. He also had hammond organ lessons with Doctor Lonnie Smith in New York.

Very soon Sam became established in the London jazz scene. At the moment he is in regular demand as a jazz organist by many different musicians and has been performing in some of the most renowned jazz venues and international Jazz Festivals in London and UK: Jazz Cafe, The Crypt St Martin in Fields, Royal Festival Hall Foyer, National Theatre, London Jazz In The Streets, Coventry Jazz Festival, Southport Jazz Festival, Glasgow Jazz Festival.

During this period in the UK has played, amongst others, with Andy Sheppard, Dave O’Higgins, Clark Tracey, Jim Mullen (who played guitar with Brian Auger and Jimmy Smith), Dave Cliff, Colin Oxley, Butch Thomas (saxophonist with Jaco Pastorius and Sting), Tina May, Alan Barnes, Gareth Lokraine, Nigel Price ( James Taylor Quartet’s guitarist), Phill Lee (Jimmy Smith's regular guitarist for UK gigs) and recently with Cameron Pierre (Courtney Pine's guitarist).

The principal source of inspiration comes from Jimmy Smith, Melvine Rhine, Larry Young, Winton Kelly, Wes Montgomery ,Grant Green, Charlie Parker, Cannonball Adderley and Lou Donaldson. Sam has recently recorded with multi - awarded guitarist Colin Oxley and drummer Gideon Marcus in a newly formed Hammond trio called “Blue Groove”.

Blue Groove

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Ian Shaw - The Theory Of Joy (Deluxe Edition)

Size: 140,3 MB
Time: 61:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Small Day Tomorrow (3:13)
02. You Fascinate Me So (4:48)
03. In France They Kiss On Main Street (3:55)
04. Where Are We Now (5:29)
05. Everything (3:03)
06. How Do You Keep The Music Playing (5:03)
07. You've Got To Pick A Pocket Or Two (3:24)
08. My Brother (4:31)
09. All This And Betty Too (2:41)
10. Somewhere Towards Love (4:21)
11. The Low Spark Of High Heeled Boys (5:27)
12. If You Go Away/Ne Me Quitte Pas (3:14)
13. The Shadow (Bonus Track) (4:22)
14. Born To Be Blue (Bonus Track) (2:41)
15. Last Man Alive (Bonus Track) (4:46)

This CD finds Ian Shaw not sitting in his apparently natural habitat at a piano, but having replaced his own accompaniment with an excellent trio. There is no doubt that Shaw is a good pianist, but this format seems to free him upto really focus on his vocal performance - which he does with accuracy and aplomb.

The 12 tracks on the CD version show an excellent mix of material from Bart to Bowie, plus three Shaw originals. The opening Small Day Tomorrow (a useful concept for the jazz enthusiast, staying up late as you only have a small day tomorrow) quickly opens up to allow Barry Green to sparkle on piano. Shaw's voice seems to have something of the light touch and agility of Joni Mitchell about it, and this becomes even more clear on the Canadian artist's own In France They Kiss On Main Street. The section in which Shaw sings over Mick Hutton's round-sounding bass and Dave Ohm's tight-yet-dynamic brushes is a particular delight.

The Bowie song is Where Are We Now, from 2013's The Next Day album. This is a wistful song, looking back with a little regret, and Shaw turns in an impassioned performance. The album was recorded in summer 2015 before the shock recent news of Bowie's death, and the number makes a very fitting tribute. Mick Hutton must surely produce the most sonorous double bass tone in London, and he uses it to great effect here and throughout the album. This reflective mood carries on into Legrand/Bergman/Bergman's How Do You Keep The Music Playing, a song of love an uncertainty looking into a long-term relationship which Shaw renders beautifully -tears in this listener's eyes at any rate.

The three original songs come grouped together towards the end of the album. My Brother, about Shaw's brother Gareth who died before Ian was born, is catchy and meaningful. It's been rightly receiving radio plays, which ties it in to Ian's work with refugees in Calais. All This And Betty Too is a jazz-filled romp with Shaw remembering listening to Betty Carter in Ronnie Scott's with Claire Martin, a long-term friend who also produced this album. A trio reworking of Somewhere Towards Love (chosen in its solo version as a Desert Island Disc by both Molly Parkin and Julian Clary) sees the song moving with a little more urgency, and it's great to get another way to hear it. As if to stress Shaw's versatility, we move from a pointed You've Got To Pick A Pocket Or Two (sung with social comment in mind, surely) to a closing If You Go Away/Ne Me Quitte Pas, in Brel-ish style over Green's solo accompaniment.

This collection has great variety, yet is defined at its core by four top-class musicians on their own terms. If, like me, you have enjoyed Ian Shaw's live performances but never yet taken the plunge with an album, this is a wonderful place to start. ~by Brian Blain

The Theory Of Joy

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Doc Watson, Clint Howard & Fred Price - Old Timey Concert

Size: 166,8 MB
Time: 71:58
File: MP3 @ 320K/s
Released: 1967/1991
Styles: Folk, Country, Bluegrass, Old-Timey
Art: Front

01. Introduction (0:59)
02. New River Train (3:01)
03. What Does The Deep Sea Say (3:41)
04. Sunny Tennessee (3:43)
05. Walkin' In Jerusalem (2:09)
06. Sittin' On Top Of The World (3:33)
07. Pretty Little Pink (1:58)
08. My Home's Across The Blue Ridge Mountains (3:21)
09. Slewfoot (2:36)
10. Little Orphan Girl (3:14)
11. Long Journey Home (2:37)
12. Rank Stranger (2:56)
13. Crawdad (3:55)
14. Fire On The Mountain (2:45)
15. Eastbound Train (3:34)
16. On The Banks Of The Old Tennessee (3:30)
17. Mountain Dew (3:58)
18. Corrina Corrina (2:31)
19. Footprints In The Snow (4:03)
20. I Saw A Man At The Close Of The Day (3:11)
21. Cackling Hen (1:41)
22. Wanted Man (2:17)
23. Way Downtown (2:27)
24. Will The Circle Be Unbroken (4:12)

Personnel:
Vocals, Fiddle – Fred Price
Vocals, Guitar – Clint Howard
Vocals, Guitar, Mandolin, Harmonica, Banjo – Doc Watson

Although Doc Watson, Clint Howard, and Fred Price were giving similar concerts at the beginning of the '60s, this performance for the Seattle Folklore Society wasn't recorded until 1967. Nonetheless, it gives a good sense of the state of Watson's art before he went solo, finding him in cahoots with neighbors and friends and singing old-time material in an intimate setting. This album features a few solo performances by Watson and terrific, cheerful interplay among all three men. "Sunny Tennessee," "Walking in Jerusalem," "Crawdad," and "Will the Circle Be Unbroken" are highlights, but this is a highly entertaining concert throughout, with a few songs like "Mountain Dew" containing guitar breaks that are fast even by Watson's standards. As a side note, this album's track data are off slightly -- track one is given to Howard's spoken introduction, while "I Saw a Man at the Close of the Day/Cackling Hen," supposedly track 19, takes up tracks 20 and 21, bringing the total count to 24, not 22 as listed on the cover. ~by Jim Smith

Old Timey Concert

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Andy Brown - Direct Call

Size: 126,4 MB
Time: 54:55
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Guitar Jazz
Art: Front

01. The Jeep Is Jumpin' (4:40)
02. Prisoner Of Love (5:58)
03. El Cajon (4:37)
04. Funk In Deep Freeze (7:06)
05. Appel Direct (Direct Call) (4:47)
06. Relaxing (6:20)
07. One Morning In May (4:47)
08. Catch Me (5:14)
09. Ela E Carioca (6:44)
10. Freak Of The Week (4:38)

Andy Brown's previous album, Soloist, received outstanding reviews in JazzTimes, Jazziz, Vintage Guitar and in Down Beat where Scott Yanow described Andy as "a fixture on the Chicago jazz scene since 2003 ... a superior mainstream guitarist". Direct Call features a rarity in jazz today - a working band. Several years of performing weekly at Andy's Jazz Club has given this quartet a cohesive and tight-knit sound that can only be gained through countless gigs together. With Jeremy Kahn, piano, Joe Policastro, bass and Phil Gratteau, drums, the album features an eclectic mix of standards, Brazilian music and jazz compositions.

Andy Brown is a guitarist based in Chicago. Born in New York City in 1975, he has played professionally for over twenty years. He has had a varied performing career that has included stints in Cincinnati and New York.

Since coming to Chicago in 2003, Andy has been fortunate to work at many of the area's finest jazz venues with his own bands, as well as playing his unique brand of solo jazz guitar. He has led his own groups at clubs like The Green Mill and Andy's Jazz Club, and has backed visiting jazz names at places including The Jazz Showcase and the Harris Theater.

As a sideman he has performed with internationally know jazz musicians including Howard Alden, Harry Allen, Warren Vache, Ken Peplowski, Hod O’Brien, Anat Cohen, Kurt Elling, and Joe Cohn as well as many others. He has also worked with many names on the Chicago jazz scene at nearly every spot that features live jazz music including Russ Phillips, Don Stiernberg, Kim Cusack, Chris Foreman, Bobby Lewis, Chuck Hedges, Judy Roberts, and Howard Levy.

Direct Call

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Lonnie Liston Smith And The Cosmic Echoes - Renaissance

Styles: Post-Bop, Jazz Fusion
Year: 1976
File: MP3@320K/s
Time: 36:01
Size: 82,9 MB
Art: Front

(6:45)  1. Space Lady
(6:10)  2. Mardi Gras (Carnival)
(5:24)  3. Starlight and You
(5:52)  4. Mongotee
(4:12)  5. A Song of Love
(2:38)  6. Between Here and There
(4:59)  7. Renaissance

With a jacket adorned by mystical symbols of every faith and tribe Smith could think of, Renaissance is a pleasant paean to Peace, Love and Understanding that goes down easily and almost tracelessly. Smith doubles on acoustic piano and Rhodes electric piano, the latter often tarted up by gentle period Echoplex effects, and brother Donald Smith provides ethereal flute and occasional vocals. The Smiths are at their most ingratiating when sailing along in a semi-Brazilian groove on "Mardi Gras" and "A Song of Love" that pre-echoes a similar direction that Pat Metheny would take. Otherwise, the mildly spacy funk patterns and lightweight age of Aquarius atmosphere rise not too far above the level of hip '70s makeout music. Still, you could do a lot, lot worse in that genre. ~ Richard S. Ginell  http://www.allmusic.com/album/renaissance-mw0000464626

Personnel: Lonnie Liston Smith (vocals, guitar, piano, electric piano, electronics); Donald Smith (vocals, flute); Gene Bertoncini (guitar, acoustic guitar); Dave Hubbard (flute, soprano saxophone, tenor saxophone); Leon Pendarvis (Clarinet); Kenneth Bichel (synthesizer, Moog synthesizer); Wilby Fletcher (drums); Lawrence Killian (congas); Guilherme Franco (percussion).

Renaissance

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Steve Kaldestad (Feat. Renee Rosnes, Peter Washington & Lewis Nash) - New York Afternoon

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 55:42
Size: 135,3 MB
Art: Front

(5:40)  1. Punjab
(5:54)  2. O bebado e a equilibrista
(8:26)  3. Put on a Happy Face
(5:53)  4. Wishful Thinking
(4:27)  5. Beatriz
(4:36)  6. Yeah!
(7:15)  7. I've Just Seen Her
(7:17)  8. Icelight
(6:10)  9. Blues for David

Since moving to Vancouver in 2008, Steve Kaldestad has become one of the most in-demand saxophonists on the scene, performing as a sideman with Jesse Cahill’s Nightcrawlers, Jodi Proznick’s quartet, and many other groups. Steve has released 3 CDs on the Cellar Live label to great acclaim including Straight Up featuring the Mike LeDonne Trio and the brand new release, New York Afternoon with the Renee Rosnes Trio. Originally from the prairies, Steve spent the ’90s in Montreal, obtaining his Bachelors and Masters degrees from McGill University. During this time Steve was awarded a grant to study with Lee Konitz in New York for a year. In 2000, he began an eight year stint in London, England and joined the Kate Williams Quartet, the Matt Wates Sextet, the Pasadena Roof Orchestra, the Gareth Lockrane Septet, and played regular gigs in the BBC big band, the Humphrey Lyttelton Group and others. He has also played and/or recorded with Denzal Sinclaire, Mike LeDonne, Kurt Rosenwinkel, Peter Bernstein, the Karl Jannuska Group, Kevin Dean and many others. Steve now resides in Port Moody, BC and teaches at Capilano University, and directs the Vancouver Symphony Orchestra School of Music Big Band. Steve is a D’addario artist. http://stevekaldestad.com/about/

Personnel: Steve Kaldestad (tenor saxophone); Renee Rosnes (piano); Peter Washington (acoustic bass); Lewis Nash (drums).

New York Afternoon

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Lorez Alexandria - More of the Great Lorez Alexandria

Styles: Vocal Jazz
Year: 1964
File: MP3@320K/s
Time: 33:10
Size: 78,5 MB
Art: Front

(4:18)  1. But Beautiful
(2:17)  2. Little Boat (O Barquinho)
(1:32)  3. Dancing on the Ceiling
(6:58)  4. It Might as Well Be Spring
(2:20)  5. Once (It S'Aim Aient)
(2:54)  6. The Wildest Gal in Town
(4:53)  7. Angel Eyes
(2:20)  8. This Could Be the Start of Something Big
(3:09)  9. No More
(2:25) 10. That Far Away Look

A solid singer who is superior at interpreting lyrics, gives a soulful feeling to each song, and improvises with subtlety, Lorez Alexandria was a popular attraction for several decades. She sang gospel music with her family at churches starting in the mid-'40s and worked in Chicago nightclubs in the 1950s. With the release of several albums for King during 1957-1959, Alexandria became popular beyond her hometown, and by the early '60s she was living and working in Los Angeles. In addition to the King label, her earlier recording sessions were for Argo and Impulse, while her later albums were for Discovery and Muse. Despite a long period off records (only a few private recordings during the 1965-1976 period), Alexandria survived through the many changes in musical styles and could be heard in excellent form up until she retired in the mid-'90s. Not long after retiring, Alexandria suffered a stroke, and her health declined until her death in May 2001. ~ Scott Yanow  https://itunes.apple.com/us/artist/lorez-alexandria/id2897975#fullText

More of the Great Lorez Alexandria

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Earl Coleman - Love Songs

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 34:34
Size: 80,7 MB
Art: Front

(3:32)  1. People
(3:58)  2. There's No You
(2:52)  3. A Day In The Life Of A Fool
(2:57)  4. I've Got You Under My Skin
(4:44)  5. I Wish I Knew
(5:11)  6. I Won't Tell A Soul
(2:40)  7. The Work Song
(2:57)  8. Manhattan Serenade
(2:58)  9. Charade
(2:42) 10. When Did You Leave Heaven

Despite his warm voice and the optimistic liner notes, this album was Earl Coleman's only recording as a leader from 1957-76. Coleman, whose baritone voice was originally influenced by Billy Eckstine, is long overdue for rediscovery, as was Johnny Hartman who gained some posthumous fame in the 1990s. Coleman is joined by either a big band led by pianist Billy Taylor and featuring flutist Jerome Richardson, or by Taylor's combo with trumpeter Eddie Williams, guitarist Gene Bertoncini, bassist Reggie Workman and drummer Bobby Thomas. A few of the tunes, such as "People" and "Charade," are throwaways, but even those are uplifted by Coleman's warmth. Highlights include "There's No You," "I Wish I Knew" and "When Did You Leave Heaven." This underrated LP will hopefully be reissued on CD someday and makes one regret that Coleman recorded so little during his prime. ~ Scott Yanow  http://www.allmusic.com/album/love-songs-mw0000879193

Personnel:  Earl Coleman – vocals;  Frank Foster - tenor sax;  Jerome Richardson – flute;  Billy Taylor – piano;  Eddie Williams – trumpet;  Gene Bertoncini – guitar;  Billy Taylor – piano;  Reggie Workman – bass;  Bobby Thomas - drums

Love Songs

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Bing Crosby & Fred Astaire - Together

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 59:39
Size: 143,9 MB
Art: Front

(2:54)  1. Roxie
(3:20)  2. Top Billing
(3:35)  3. How Lucky Can You Get?
(4:05)  4. Spring Spring Spring
(3:12)  5. It's Easy To Remember
(2:55)  6. Change Partners
(5:09)  7. Pick Yourself Up
(2:51)  8. Mr Keyboard Man
(3:26)  9. I've A Shooting Box In Scotland
(3:28) 10. In The Cool Cool Cool Of The Evening
(3:49) 11. Bon Vivant
(2:50) 12. Sing
(3:50) 13. Dance In The The Old Fashioned Way
(3:00) 14. I Love To Dance Like They Used To Dance
(2:58) 15. A Couple Of Song And Dance Men
(2:39) 16. That's Entertainment (The Band Wagon)
(1:51) 17. Top Billing (Reprise)
(3:40) 18. Session Sound Bites - Bloopers With Bing & Fred

Bing Crosby and Fred Astaire. What a Team! Crosby the Archetypal Crooner and Legendary Hitmaker who Had Worked with Everyone from Bix Beiderbecke to David Bowie and Astaire the Quintessential Dancer who Introduced More Classic Songs to the Popular Catalogue Than Crosby and Sinatra Combined. This Collection is a Reissue of the Original 1975 Album "How Lucky Can You Get!" and features Bonus Tracks. Sleeve Notes Written by Ken Barnes, the Producer of the Original Record. ~ Editorial Reviews  http://www.amazon.com/Together-Bing-Crosby/dp/B000E9X6WG

Together

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Helen O'Connell - Here's Helen

Styles: Vocal Jazz
Year: 1959
File: MP3@320K/s
Time: 31:27
Size: 73,6 MB
Art: Front

(1:59)  1. Who Cares
(2:36)  2. I Can't Believe That You're In
(2:26)  3. Bye Bye Blues
(3:43)  4. Blue And Broken Hearted
(2:25)  5. Saturday Night (Is The Lonelie
(2:27)  6. You Took Advantage Of Me
(1:48)  7. I've Got A Feelin' You're Fool
(3:51)  8. You Showed Me The Way
(1:45)  9. Just You Just Me
(3:23) 10. I Cried For You
(2:36) 11. Miss You
(2:23) 12. Please Don't Talk About Me Whe

Helen O'Connell, who had a fairly long career, will always be best remembered for her squeals on "Green Eyes" and her work with Jimmy Dorsey. She originally left her native Toledo with Jimmy Richards' nine-piece group, gigging and touring for a year and a half. O'Connell appeared on a regular radio show in St. Louis until she agreed to tour with Larry Funk's band (which was billed as "Band of a Thousand Melodies"). After the outfit started working in New York, she was discovered and quickly signed up by Jimmy Dorsey in 1938. O'Connell soon had a hit rendition of "All of Me," which was followed by popular recordings of "Embraceable You," "Brazil," "Jim." and "When the Sun Comes Out" (which she introduced). However, it was in December 1940, when she started sharing recordings with ballad singer Bob Eberly, that O'Connell for a time became a household name. Eberly generally took a slow chorus, Jimmy Dorsey would have a brief instrumental interlude, and then O'Connell would finish up the record with a swinging chorus. This combination worked very well on hit versions of "Amapola," "Yours," "Green Eyes" and "Tangerine." After appearing in the 1943 movie I Dood It with Dorsey (singing "Star Eyes"), O'Connell retired to get married; she would eventually have four daughters. In 1950 she began a successful solo career, making occasional records, appearing regularly on television (she spent a period as co-host of The Today Show), toured as part of Four Girls Four (which also included Kay Starr, Rosemary Clooney and Rose Marie) and made guest appearances with the Jimmy Dorsey ghost band, singing in an unchanged style. Although her voice was limited, she made her deficiencies into assets and carved out her own place in musical history. Helen O'Connell was active up until shortly before her death from cancer. ~ Scott Yanow  http://www.allmusic.com/artist/helen-oconnell-mn0000954646/biography

Here's Helen

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Earl Coleman - Earl Coleman Returns

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 58:16
Size: 135,1 MB
Art: Front

(5:42)  1. Say It Isn't So
(5:53)  2. Reminiscing
(6:31)  3. Social Call
(5:23)  4. It's You Or No One
(4:17)  5. Come Rain Or Come Shine
(5:24)  6. No Love, No Nothin'
(2:46)  7. This Is Always (bonus track)
(2:52)  8. My Last Affair (bonus track)
(3:42)  9. Ghost Of A Chance (bonus track)
(3:38) 10. I Haven't Changed A Thing (bonus track)
(4:23) 11. My Ideal (bonus track)
(7:38) 12. Two Different Worlds (bonus track)

Singer Earl Coleman, who had an early hit with "This Is Always" (cut with Charlie Parker in 1947), had a rather sporadic recording career. The music reissued on this CD (which adds four bonus cuts to the original Prestige LP) was, with the exception of a couple selections on Sonny Rollins and Elmo Hope albums, the singer's only recordings during 1949-1966 and (other than an obscure Atlantic album) his only sessions from 1949-1976. Coleman, who had a deep baritone voice influenced by Billy Eckstine, clearly deserved better. Although not an improviser, Coleman could swing, as he shows on these performances with the assistance of such fine players as trumpeter Art Farmer, altoist Gigi Gryce, and pianist Hank Jones; highlights include "It's You or No One," "Social Call," and a remake of "This Is Always." ~ Scott Yanow  http://www.allmusic.com/album/earl-coleman-returns-mw0000664310

Personnel: Earl Coleman (vocals); Gigi Gryce (alto saxophone); Gene Ammons (tenor saxophone); Gene Easton, Cecil Payne (baritone saxophone); Nate Woodyard, Art Farmer (trumpet); Henderson Chambers, Ed Moore (trombone); John Houston, Hank Jones , Lawrence Wheatly (piano); George Brown , Shadow Wilson, Wilbert G.T. Hogan (drums).

Earl Coleman Returns

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Chris Minh Doky - Minh

Styles: Jazz, Contemporary Jazz
Year: 1998
File: MP3@320K/s
Time: 52:25
Size: 120,5 MB
Art: Front

(3:29)  1. I Told You So
(4:09)  2. Every Breath You Take
(0:12)  3. Welcome
(2:49)  4. Waiting On You (jungle vibe)
(5:06)  5. Sleepless Dream
(0:04)  6. Chhaya
(5:39)  7. Lean On Me
(4:56)  8. I Just Wanna Stop
(4:52)  9. A New Day
(0:09) 10. Ken & Mai
(5:39) 11. It Once Was
(3:44) 12. Mardi Chez Lionel
(0:28) 13. Messages
(5:42) 14. Home Sweet Home
(0:19) 15. New York City
(5:02) 16. Dont Get Funny With My Money

One can call Chris Min Doky an international musician. Born in Denmark as the son of a Danish pop singer and a Vietnamese guitarist he got his talent on a natural way. In 1989 at age 18 he moved to New York, where he soon had the opportunity to start his career as bassist and to record his debut album Appreciation followed by The Sequel (1990) and Letters (1991) on Storyville Records. His specialty was mixing jazz and rock. Signed by Blue Note Records he released Doky Brothers (1995), Doky Brothers 2 (1996), with his elder brother, the jazz pianist Niels Lan Doky, and Minh (1998). Chris comments about Minh: "I wanted to do something totally different than what I had been doing with Doky Brothers. I was ready to do something more funky, more edgy, less polite. 

I wanted to record an album that told the story of who, and where, I was at the time. What better way to do that, than invite all your friends an have a party?" Guest musicians on Minh are the Brecker Brothers, David Sanborn, Mike Stern, Lenny White and many more celebrities.  Minh offers a great variety of styles from jazz to Pop and R&B. Fusion jazz on I Told You So and Waiting On You is searching the musical borders of all musicians. You find delighting songs like Every Breath You Take and Lean On Me interpreted by Lalah Hathaway. In spite of the fact that merging of fusion jazz and R&B on the same album is a risky endeavor Chris finds the right balance between the genres. This album was released in 1998, a time when smooth jazz in USA had its first ascendancy. http://www.smooth-jazz.de/starportrait/Doky/Retrospective.htm

Personnel:  Chris Minh Doky (Bass);  Michael Brecker (Tenor Saxophone);   David Sanborn (Alto Saxophone);  Randy Brecker (Trumpet);  Ricky Peterson, Joey Calderazzo, Chris Parks, Larry Goldings, Lasse Janson, Jim Beard (keyboards, Piano);  Paul Peterson, Louis Winsberg, Chris Parks,Joe Caro, Mike Stern, David Gilmore, Hiram Bullock (Guitars);  Michael Bland, Paul Peterson, Lenny White, Adam Nussbaum, Alex Riel (Drums);  Dianne Reeves, Vivian Sessoms, Lalah Hathaway,Randy Brecker (Lead Vocals);  Kayoko Suzuki Lange (Voice)

Minh

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