Hampton Hawes - Here and Now

Styles: Piano Jazz

Year: 1965

File: MP3@320K/s

Time: 39:25

Size: 90,4 MB

Art: Front

(7:01)  1. Fly Me to the Moon

(4:44)  2. What Kind of Fool Am I?

(4:08)  3. The Girl from Ipanema

(3:39)  4. Rhonda

(5:29)  5. Dear Heart

(5:07)  6. People

(4:29)  7. Chim Chim Cher-ee

(4:43)  8. The Days of Wine and Roses

For this interesting but not essential CD reissue, pianist Hampton Hawes, along with bassist Chuck Israels and drummer Donald Bailey, tries his best to uplift then-current songs (plus his original "Rhonda") including "Fly Me to the Moon," "What Kind of Fool Am I," "Chim Chim Cheree," and even "People." In general, the treatments are somewhat straight-ahead ("The Girl from Ipanema" is taken as swing rather than bossa nova), and Hawes' solos transform some of the tunes a bit. ~ Scott Yanow  http://www.allmusic.com/album/here-and-now-mw0000674696

Hampton Hawes Trio: Hampton Hawes (piano); Chuck Israels (bass); Donald Bailey (drums).

Here and Now

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Jaimee Paul - Too Marvelous: The Songs Of Johnny Mercer

Size: 101,7 MB
Time: 43:35
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Too Marvelous For Words (2:39)
02. Day Of Wine And Roses (3:24)
03. Moon River (4:19)
04. That Old Black Magic (3:44)
05. Skylark (3:55)
06. Ac-Cent-Tchu-Ate The Positive (3:50)
07. Autumn Leaves (3:25)
08. Fools Rush In (3:18)
09. I Remember You (3:37)
10. Something's Gotta Give (3:43)
11. Laura (3:29)
12. P.S. I Love You (4:05)

Growing up in Southern Illinois, Paul was influenced by many musical forms and styles; but jazz and it's rich nuances and history held a special place in her heart. In 2008, her love for and amazing interpretation of these standards led to a recording contract with Green Hill Music, signing on as their first female jazz vocalist. Paul's first album, 'At Last', reached #1 on the iTunes album charts. Jaimee is now preparing to release her newest album 'Bonded'. This album is a daring tribute to the most famous Bond themes in music history. She delves into the spirit of the artists and finds new glory in the songs. Paul fearlessly tackles the great memories of iconic songs, and brings them to a new level.

Jaimee is married to and works closely with her trumpet player, Leif Shires. Leif hails from Fresno, California, and grew up around a very eclectic mixture of music. His loves and interests have ranged from Jazz, Latin, Funk, Pop, Indy, Gospel and Rock to Classic R&B most notably with the legendary Memphis Horns. Shires is also signed to Green Hill as a solo trumpet player who has already released a couple of albums as well.

Both artists have been recognized in their fields by many notable artists and remain in high demand with their fellow musicians in Nashville which they currently call home. Jaimee has traveled around the world with vocal powerhouse Wynonna, and with Pop singing sensation Kelly Clarkson.

Too Marvelous

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Roswell Rudd & Heather Masse - August Love Song

Size: 104,5 MB
Time: 45:28
File: MP3 @ 320K/s
Released: 2016
Styles: Modern Jazz, Jazz Vocals
Art: Front

01. Social Call (3:36)
02. Love Song For August (5:08)
03. I'm Going Sane (One Day At A Time) (5:58)
04. Mood Indigo (4:43)
05. Winter Blues (4:07)
06. Blackstrap Molasses - Old Devil Moon (5:59)
07. Con Alma (4:09)
08. Open House (4:04)
09. Tova And Kyla Rain (2:49)
10. Love Is Here To Stay (4:50)

How unlikely is the pairing of youthful and exuberant vocalist like Heather Masse and the free jazz deity of one Roswell Rudd? It is almost the punchline for a punny joke. Yet, we have August Love Song and what can we make of it?

First, the cover art recalls the movie poster of Summer of '42 (Warner Brothers, 1971) crossed with Love Story (Paramount, 1970). But this love story is one of music...ageless, constant, basic, organic. Both a sepia nostalgia and a fresh, post-modern veneer are evident in these ten well-crafted pieces. They are brilliant contradictions that perfectly complement one another.

Rudd and Masse met one another about four years while appearing on A Prairie Home Companion where Masse has appeared many times, both as a solo ace and as a member of the Wailin' Jennys, a popular folk group consisting of alto Masse, with soprano Ruth Moody and mezzo Nicky Mehta (the current lineup). Masse has made two recordings with the Wailin' Jennys and two solo recordings, her last being the well-received Lock My Heart (Red House Records, 2015) made with pianist Dick Hyman. Of that recording, All About Jazz critic Dan Bilawsky said: ..."Masse may or may not be back on the folk side of the fence but, if she has indeed flown on, she'll hopefully come back to visit jazz on occasion; a songbird with her talents, after all, should be free to fly wherever she pleases." This spirit is in no way diminished on August Love Song.

Behold this curious chemistry where Rudd and Masse prod and feed off one another. Masse emulates Rudd with the most spirited scat and vocalese of recent memory and Rudd digs deep, way past his freedom days, back to when Kid Ory transmogrified into Tricky Sam Nanton crossed with Al Grey on their way to the Eminent JJ Johnson. This chemistry, alchemy really, blooms from the small confines of a quitar-bass rhythm section supporting the two principals. This gives the music a '20s and '30s Hot Club aroma, but that aroma is pine- needle sharp with gin...the good stuff, too. Masse grows languid from Rudd's almost boozy blowing, characteristically in the lower register.

Perfect is Masse and Rudd's command of Gigi Gryce's "Socal Call" as realized by Bessie Smith, Billie Holiday, and Betty Carter. She slows her crack phrasing to the rheology of Molasses. The two build a monument worthy of being strolled through with the diptych made up of "I'm Going Sane (One Day at a Time)" and "Mood Indigo," the latter introduced by Rudd with a growling "It Don't Mean a Thing." The pair duet on the Ellington piece and the results are that of a smoky diamond awaiting proper discovery. Masse reaches deep herself and finds the blues and she is not shy in sharing them with us. A musical center of beautifully titrated honey and Quaaludes languidness.

But we have yet to hear the best. The medley of "Blackstrap Molasses" and "That Old Devil Moon" look clean and clear as water from the old home place well, except for the razor bite of the moonshine when you hear it. This is music that makes you wish you could live forever just to hear more of it. Rudd and Masse close with a sweetly quaint "Our Live is Here to Stay," capping as fine a recording as I believe I can bear. ~Michael C. Bailey

Personnel: Heather Masse: vocals; Roswell Rudd: trombone; Rolf Sturm: guitars; Mark Helias: bass.

August Love Song

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Alexis Cole - Dazzling Blue

Size: 124,2 MB
Time: 53:22
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. St. Judy's Comet (3:03)
02. Jonah (3:31)
03. Dazzling Blue (4:35)
04. Something So Right (6:21)
05. Another Galaxy (5:17)
06. Nobody (3:44)
07. Song About The Moon (4:12)
08. Everything About It Is A Love Song (4:35)
09. Long, Long Day (4:09)
10. Love (4:06)
11. That's Where I Belong (4:28)
12. Quiet (5:16)

Inspired by Paul Simon's contributions, Alexis Cole offers this very special treatment of his music. With Dazzling Blue, vocalist Cole and producers David Chesky and Nicholas Prout sifted through some of Simon's lesser known compositions.

Herein they are presented in unalloyed simplicity, emphasizing the incandescent quality, and unadorned beauty of his lyrics. Ms. Cole has a marvelous voice of great depth. Her clear, warm resonance strips away all ornamentation and gets you to the marrow of the songwriter's stories. The vocals are haunting, and a testament to Cole's cross-cultural vocal training. Cole is joined by an excellent group of musicians whose collective body of work is well known to roots music aficionados. Jeff Haynes and Gus Courtsunis on percussion; Marvin Sewell on acoustic and electric guitars; Mark Peterson on bass, Julie Harris on Native American flute, and background vocals from Maria Quintanilla and Evan Sundquist; they are all an integral part of the whole.

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings.

Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure music ever recorded.

Dazzling Blue

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The Horace Silver Quintet (feat. J.J. Johnson) - The Cape Verdean Blues

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 43:44
Size: 101,0 MB
Art: Front

(4:58)  1. The Cape Verdean Blues
(9:36)  2. The African Queen
(7:31)  3. Pretty Eyes
(7:15)  4. Nutville
(8:37)  5. Bonita
(5:45)  6. Mo' Joe

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. 

On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw  is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album. ~ Steve Huey  http://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

Personnel:  Bass – Bob Cranshaw;  Drums – Roger Humphries;  Piano – Horace Silver;  Tenor Saxophone – Joe Henderson;  Trombone – J.J.Johnson (tracks: 4 to 6);  Trumpet – Woody Shaw 

The Cape Verdean Blues

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Dina Blade - S' Wonderful

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 46:19
Size: 106,5 MB
Art: Front

(3:04)  1. S'Wonderful
(4:18)  2. On the Street Where you Live
(5:16)  3. That's All
(3:10)  4. Summer Samba
(2:38)  5. In the Cool Cool Cool of the Evening
(3:46)  6. How Strange
(3:52)  7. Waltz for Debby
(2:11)  8. It's Allright with Me
(4:32)  9. Suddenly It's Spring
(3:46) 10. That Old Black Magic
(4:10) 11. The Boy Next Door
(2:42) 12. On the Atchinson, Topeka and the Santa Fe
(2:48) 13. Too Marvelous for Words

Backed by a rhythm section of world class musicians, Dina Blade delivers classic jazz standards with a relaxed vocal style that is "smooth and delicious" ~ KMUN radio

I have been singing all my life. I began accompanying myself on the guitar at age eleven, singing folk songs. Eventually I added jazz standards and bossa nova to my repertoire. One day I received a recording of vocal exercises as a gift. It stayed on the shelf for ten years. When I scheduled my first jazz vocal recording session, I decided to try the exercises in preparation. Within three weeks I noticed a remarkable improvement in my breath control, pitch and range, and I was hooked! Today, as a professional vocalist, I have found vocal exercises to be an absolutely essential part of my daily routine. My vocal students are busy folks, and I wanted to give them a fun tool to help them stay relaxed while they warm up to sing. Thus, this cd was born. "Nothing complicated here, and you can use it anywhere." ~Victory Music Review  http://www.cdbaby.com/cd/dinablade5

S' Wonderful

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Eddie Daniels & Gary Burton - Benny Rides Again

Styles: Vibraphone And Clarinet Jazz
Year: 1992
File: MP3@320K/s
Time: 58:39
Size: 135,8 MB
Art: Front

(3:42)  1. Sing, Sing, Sing
(5:44)  2. Stompin' At The Savoy
(4:12)  3. Moonglow
(3:51)  4. Airmail Special
(5:13)  5. Let's Dance
(4:07)  6. Slipped Disc
(5:29)  7. Memories Of You
(3:01)  8. Avalon
(5:22)  9. In A Mist
(4:55) 10. Grand Slam
(3:33) 11. After You've Gone
(5:47) 12. Goodbye
(3:37) 13. Knockin' On Wood

During 1991-92, clarinetist Eddie Daniels and vibraphonist Gary Burton teamed up on a tour, performing a tribute to Benny Goodman and Lionel Hampton. Never mind that they sound nothing at all like their predecessors. On the CD that resulted from the collaboration, the duo use pianist Mulgrew Miller (who sounds much more like McCoy Tyner than Teddy Wilson), bassist Marc Johnson and drummer Peter Erskine for 11 songs associated with the King of Swing plus Bix Beiderbecke's "In a Mist." Actually the most memorable selection is "Knockin' on Wood," which has nothing to do with Goodman or Hampton (it was a feature for Red Norvo) and features Burton romping on a xylophone. Other highlights include a surprisingly brief "Sing, Sing, Sing," "Airmail Special," "Slipped Disc" and "Avalon." ~ Scott Yanow  http://www.allmusic.com/album/benny-rides-again-mw0000073047

Personnel:  Bass – Marc Johnson;  Clarinet – Eddie Daniels;  Drums, Percussion – Peter Erskine;  Piano – Mulgrew Miller;  Vibraphone, Xylophone – Gary Burton

Benny Rides Again

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Jeff Richman - Hotwire

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 51:34
Size: 118,8 MB
Art: Front

(7:21)  1. Hit Spot
(4:02)  2. Seven Up
(3:59)  3. Chloe
(4:33)  4. "Oh, Yeah?"
(5:53)  5. North Shore
(4:46)  6. One Last Kiss
(4:42)  7. Little Waves
(5:57)  8. Solar City
(4:45)  9. Golden Arrow
(5:32) 10. Miles Per Hour

I was all in from the start of this album or maybe before seeing that Jeff Richman is backed up by George Whitty on keys and the one-two punch of Jimmy Haislip (bass) and Vinnie Colaiuta (drums). That alone made me want to break into a chorus of “Hallelujah” (Handel, not Cohen). Of course, Richman's resume is long and storied and "Hotwire" (Nefer Music Records) only pads that brilliant career. Colaiuta’s kick and high hat opened the album on “Hit Spot.” Fold in Whitty, Haislip and Richman and you’ve got the makin’s! Not only does Haislip handle to bass but produces the album, as well. George Whitty contributes extraordinary keyboards to make any fusion aficionado stand up in salute. Jeff Beal on trumpet is a sweet addition to the track which, at 7:24, is the longest track of the album. It gives a broad vision of the shape of things to come. “Seven Up” drops the fusion approach and becomes more melodic while that rhythm section keeps things lively. Joining Beal’s trumpet is Brandon Fields on sax and these two combine with Whitty and Richman for a little bit of a Jazz-Funk exercise. Like all the tracks but one, Jeff Richman wrote “Chloe” and is more of a ballad which is taken up by the quartet alone. The pace is leisurely and sweet without losing itself in sentimentality. It is playful and energetic and thoughtful and, obviously, dedicated to his daughter.

Jan Hammer’s great composition “Oh, Yeah?” follows next with Jeff Lorber sitting in for Whitty. Jimmy Branly sits at the congas and the result must be exactly what Hammer had long ago envisioned. Richman is at a harmonic high and creates a fascinating version of the song with Richman taking over Hammer’s keyboard parts. A great swag track. A complete reshuffling of the line-up occurs for “North Shore.” Anthony Jackson takes on the bass with Gary Novak on drums and Mike Stern doubling Richman on guitar. Gary Fukashima accompanies on acoustic piano and performs beautifully atop the driving rhythm section in support of Richman’s sweeping color. Josefine Löfgren provides lovely backing vocals that remind of the great vocalisations from Nana Vasconcelos. Richman and Fukashima are splendid together and equally reminiscent of Pat Metheny and Lyle Myles together. Colaiuta and Whitty return for “One Last Kiss” with Dean Taba on acoustic bass and Mitchel Forman on acoustic piano. It is a more straight-up Jazz ballad with Richman alternating between the clean and the fuzzy so very compellingly. The support group is more subdued here as Richman takes true center-stage. There is a melancholy sweetness that is highlighted by Forman’s acoustic piano and Whitty’s swells and shimmers. So well done.

The original quartet returns with the addition of Scott Kinsey on piano for “Little Waves.” Whitty introduces a cool, churchy approach against Richman’s advancing and ascending lead guitar. Scott Kinsey’s piano gets a good solo turn backed by the staggered rhythms of Colaiuta. Jazz goes to church here. “Solar Waves” keeps Haislip on bass but the drums are handled by George Borlai. Kinsey remains on the keyboards. The chord changes grab the listener’s attention throughout the piece. Haislip offers what sounds like a tip of the hat to John Wetton in a couple of spots. Kinsey gets some spotlight time and holds the door open for Richman’s coolest moments. The coda is smoking hot. One of the most well-crafted pieces on the album is “Golden Arrow.” The core musicians are back with Beal on flugelhorn. The pearl-stringed doublets create a nice groove and Beal lights it up with that flugelhorn. Enter Jeff Richman who takes complete command. Haislip rejects the doublets and maintains a steady stride behind the theme, in step with Colaiuta. It is a piece that seems predictable but the switched up drum patterns and bass runs stagger against the melodic line and creates something unexpected. Beal is fascinating in his pacing with Whitty and Richman. It is perhaps his standout moment on the album. It is also one of Richman’s greatest moments in an album full of great moments. The composition itself is a monument.

The album concludes with “Miles Per Hour.” The line-up for the finale is the same as on “North Shore” with the sole omission of Josefine Löfgren’s vocals. The title is probably in reference to Richman’s son named Miles. It is a fun and raucous romp with exciting rhythms and Richman himself cutting swaths of merriment throughout the piece. The rhythms are more straight-forward here which allows greater emphasis on the melody and harmonies. A nice closer. “Hotwire” is Jeff Richman’s seventeenth album as a leader and is as exciting as anything that has gone before in his 35+ year career. It is another grand meeting of compositions and performances. The supporting artists are absolutely top-flight and they are spot-on for Richman’s compositional mastery. Richman assumes whatever role the piece requires lead or support and the music is allowed to truly shine through. Fortunately, he has the virtuosity to meet or even exceed his writing brilliance. ~ Travis Rogers  http://jazztimes.com/community/articles/162600-jeff-richman-walks-the-hotwire

Hotwire

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Engelbert Wrobel's Swing Society - Sophisticated Swing

Size: 156,7 MB
Time: 66:57
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz
Art: Front

01. Coquette (3:47)
02. Rose Room (4:30)
03. El Salon De Gutbucket (5:12)
04. Gilly (4:07)
05. Manoir De Mes Reves (5:14)
06. Shoe Shine Boy (4:46)
07. Hop, Skip And Jump (3:43)
08. Nine O'clock Beer (4:33)
09. Promenade Aux Champs Elysees (5:20)
10. Sophisticated Swing (3:43)
11. Thou Swell (3:27)
12. New Orleans (4:51)
13. 9.20 Special (3:56)
14. Jubilee (3:14)
15. I Love Paris (6:28)

Engelbert Wrobel may be an unknown name in the United States but he has recorded five CDs in Europe with his Swing Society (based in Germany) and can certainly hold his own with any mainstream swing player around today. Wrobel, who sounds equally adept on clarinet, soprano, alto and tenor, is joiend by a strong four-piece rhythm section which includes pianist Chris Hopkins, plus special guest Dan Barrett. Somehow the blend of the two horns often makes the group sound as if it has four. The arranged ensembels (which alternate with solos and jammed passages) are colorful and creative within the genre of prebop. "Coquette" has the group sounding like John Kirby's Sextet, "Gilly" is close to the Benny Goodman Sextet, the ghost of Sidney Bechet emerges during "Promenade Aux Champs Elysees" and other numbers find Wroble ranging in styles from early Coleman Hawkins to Pete Fountain. Barrett, who is equally skilled on cornet and trombone, is a major asset and the rhythm section is both tight and loose. Wonderful and very enjoyable music. ~by Scott Yanow

Sophisticated Swing

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LaVon Hardison - Come Together

Size: 80,9 MB
Time: 34:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Soul Vocals
Art: Front

01. Tomorrow (3:13)
02. Sunny (4:32)
03. Maybe (2:27)
04. Come Together (2:57)
05. Alfie (5:25)
06. Unchain My Heart (3:54)
07. Better Than Anything (3:45)
08. They Long To Be Close To You (3:31)
09. Some Other Time (4:30)

Personnel:
LaVon Hardison: Vocals
David Joyner: Piano & Organ
Osama Afifi: Bass
Jeff Busch: Drums & Percussion
Brad Schrandt: Flute & Sax

Come Together is Hardison’s third album, but it truly marks a new beginning for the wildly talented singer. Building on the jazz interpretations of Choices (2006) and the inspirational bent of Everyday Gifts (2008), this long-awaited recording finds Hardison using her ineffable presence to tie together a wonderfully diverse selection of tunes with a first-class group of musicians.

“I was really excited to be able to mix jazz standards with other songs,” Hardison says. “Instead of trying to choose songs from a particular genre, I chose songs that have a melody or meaning that tell a story.”
With ease, Hardison erases the boundaries between jazz, funk, and soul, re-inventing well-loved tunes including “(They Long to Be) Close to You,” “Sunny,” and “Tomorrow.” She infuses The Beatles’ “Come Together” with rhythms that would be at home in New Orleans, and you can hardly imagine anything better than her version of the jazz standard “Better Than Anything.”

When Hardison smolderingly implores you to “Unchain My Heart,” you’ll gladly comply, if only because you sense her affection for the 1964 Ray Charles version of the song. “Ray Charles is a huge influence for me,” she enthuses. “He managed to do country, R&B, whatever – and he always understood the song and made it his own.”

What emanates from Hardison is not merely an admixture of those who came before. It’s everything she’s done, heard, seen and felt, plus a huge helping of musicianship, all drawn into her very own musical time machine. The result? An irresistibly distinct take on life and the living of it —from raucous to somber, gleeful to introspective. And there’s joy. Always joy.

Come Together

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Joel Evans & Friends - Just What The Doctor Ordered

Size: 151,9 MB
Time: 64:36
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues/Pop Vocals
Label: Cinemasters
Art: Front

01. Just What The Doctor Ordered (Feat. Tim Hockenberry) (3:45)
02. Changing My Tune (Feat. Dante Marchi) (3:21)
03. I Still Believe In The Blues (Feat. John Lee Sanders) (4:17)
04. Anytime That I'm With You (Feat. Michael Dees) (3:03)
05. Sunday Morning (Feat. Roberta Donnay) (4:05)
06. The Devil's Daughter (Feat. Patrick Maier) (3:57)
07. Someone's Fav'rite Someone (Feat. Michael Dees) (3:51)
08. Now That You're Gone (Feat. Shanna Carlson) (4:02)
09. Probably The Sunny Day (Feat. Patrick Tuzzolino) (4:02)
10. Jump Right In (Feat. Patrick Maier) (3:12)
11. One Of A Kind, Kind Of Love (Feat. Patrick Tuzzolino) (4:29)
12. I Like The Way (Feat. David Sparkman) (4:31)
13. Out On A Limb (Feat. Adam James) (2:57)
14. Boogie With My Baby (Feat. Tami Damiano) (3:43)
15. Star Bright (Feat. Laurie Gunning Grossman) (3:43)
16. You Made A Believer Out Of Me (Feat. Mark Winkler) (3:42)
17. Do That (Feat. Patrick Maier) (3:47)

With his unique brand of swing and jazz songs, prolific composer Joel Evans delivers a marvelous offering: seventeen new and original tracks in classic and retro styles - Just What The Doctor Ordered!

Tim Hockenberry, semifinalist on NBC's "America's Got Talent" competition, sings the title track. The song was also covered as a duet by Roberta Donnay and Nicolas Bearde on Roberta's 2015 DownBeat Magazine TOP 50 album (4-5 star reviews). The song's co-writer is the marvelous writer/performer Barbara Martin.

Track #8, "Now That You're Gone", was licensed for acclaimed Writer/Director Joss Whedon's indy film, "In Your Eyes", starring Zoe Kazan. Lyric by hit songwriter Andre Pessis.

Track #9, "Probably the Sunny Day", is heard in episode #407 of Showtime's hit series, "Shameless". The song was co-written by Nashville songwriter extraordinaire, Lisa Aschmann.

Track #14, "Boogie with my Baby", is an homage to the Andrews Sisters. Its wonderful lyric is by LA's multi-talented Adryan Russ, writer of lyrics and music for film, television, musical theater and the pop world. It was featured on CBS' "Young & Restless".

Featuring wonderfully talented male and female guest vocal artists, Just What The Doctor Ordered provides an entertaining variety of styles. Songs like the up-tempo 50s-60s Vegas lounge track “Changing My Tune” and the bright, brisk, spirited jazz combo “Anytime That I’m With You” are standouts.

Just What The Doctor Ordered

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Diane Nalini - After Dusk

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 44:26
Size: 102,0 MB
Art: Front

(3:37)  1. Stars Fell On Alabama
(5:24)  2. My Funny Valentine
(4:02)  3. Quand Elle Rit Aux Eclats
(5:49)  4. After Dusk
(4:01)  5. Carolina
(3:36)  6. La Mer
(3:38)  7. The Portrait On The Wall
(5:04)  8. La Maison Sous Les Arbres
(4:21)  9. How Long Has This Been Going On
(4:50) 10. Every Time We Say Goodbye

Diane Nalini’s new album, 'Kiss Me Like That,' is a collection of 13 songs celebrating humanity's fascination with the sky. From the title track's infectious rhythms, to ‘Cuando sale la luna’ - Diane’s sultry ode to the moon, her original compositions on this album are all influenced by the wonders of the sky and stars. Her six original songs are perfectly complemented by classic jazz standards chosen carefully for this project, like “Stardust”, “Skylark”, “They All Laughed”, as well as her intimate interpretations of folk & pop songs such as James Taylor's “Sweet Baby James” and Sting's “Valparaiso.” Songs from Kiss Me Like That have already attracted considerable interest in the media, being previewed nationally on CBC Radio's “The Sunday Edition”, “Fresh Air”, “As It Happens”, “Metro Morning” and CBC Radio Two's documentary programme, “Inside the music.” It has also garnered praise and airplay on Radio-Canada's “Espace Musique.” Maclean’s Magazine, Canada's national news magazine, also did a full-page article on her recently. Singer/songwriter Diane Nalini's previous album put a uniquely modern spin on the words of William Shakespeare. Her latest CD “Songs of Sweet Fire” is a collection of fifteen sonnets and songs from the plays set to her original jazz, funk, and blues music. “It was very important to me to let the phrasing of the words dictate the style of music I wrote for each song. I decided to set only those songs which were in more modern sounding English, to highlight the timelessness of Shakespeare's words,” says the singer of her compositions. “Songs of Sweet Fire” is Diane's third album. In a review of Diane's recent performance at the Guelph River Run Center, the Kitchener-Waterloo Record wrote: “A gifted arranger and vocalist... Nalini made an auspicious Guelph concert debut... the highlights were three passages from literature she set to jazz - “Sigh No More” from Much Ado About Nothing, and “The Lover and His Lass” from As You Like It, as well as Alfred Lord Tennyson's “Cradle Song.”

Diane started singing at the age of three. She was born in Montreal, Canada, and is of Belgian and Goan descent. “She captures jazz at its most sophisticated and joyous level,” writes Elle Magazine Canada. In a recent review of “Tales... My Mama Told Me”, Irwin Block of the Montreal Gazette wrote: “Diane Nalini has the voice, the phrasing, confidence, clarity and control to make a tune her own and turn it into a nuanced thing of beauty.” Her debut album “After dusk” was described by London's Time Out magazine as “a gorgeous collection, sung with quiet enunciated power”. “Her artistry shines through on two wide- ranging albums, After Dusk and the newly released Tales... My Mama Told Me”, writes Canada's Globe and Mail. While breathing new life into jazz standards, she also performs her own compositions, as well as Brazilian songs and French chanson. She has performed for President Bill Clinton, Sir Paul McCartney, the President of Malta, the Canadian High Commissioner to London, and former Australian Prime Minister Bob Hawke, and recently gave concerts at the London, Montreal and Malta Jazz festivals. Diane was nominated for the Grand Prix de Jazz General Motors at the 2002 Montreal International Jazz Festival, and was one of two finalists for the UK's Young Jazz Vocalist of the Year awards for 2001. In October 2005, she opened for legendary 3-time Grammy winning songwriter Jimmy Webb at Guelph's River Run Center. More recently, she had the pleasure to perform with the wonderful David Knopfler (founder of 'Dire Straits') for the North American launch of his new album Ship of Dreams.

Other highlights have included performances at the London Jazz Festival (2001), the Montreal International Jazz Festival (2002, 2001, 1994), the Celebrate Toronto Festival (2005), as well as Montreal’s 350th Anniversary Festival (1992). Her songs have received airplay in the UK (BBC Radio 3), as well as Denmark and Brazil. In Canada, her music has been heard coast- to-coast on the CBC programs 'Jazzbeat', 'After Hours', 'Disc Drive', and 'This Morning' with Shelagh Rogers. She has also been featured on Radio-Canada by radio personalities Dan Behrman, Stanley Péan, Dorothée Berryman and André Vigean, on the Espace Musique channel. Diane was interviewed several times on CBC Radio’s 'Morningside' by the late, great Peter Gzowski. She has taught jazz singing and given jazz workshops at the University of Oxford, and conducted a songwriting workshop at the 3rd annual Millenium Scholarphip “Think Again” conference on Parliament Hill in Ottawa, Canada. 

She was recently invited to chair a pannel discussion at the Guelph International Jazz Festival Colloquium (2005) on “Improvisation: risks and responsibilities.” Earlier in the summer, she was a guest presenter at a one-day conference on “Art and democracy,” hosted by Concordia University's Center for Continuing Education. Diane studied Chinese watercolour painting and caligraphy for 10 years with the late Virginia Chang. She exhibited and sold paintings with the Montreal-based Ting Sung Group. For her new album, Songs Of Sweet Fire, she painted 16 original watercolour paintings inspired by the mood of the songs. They accompany Shakespeare's lyrics in a full-colour, deluxe 20 page booklet. “I wanted to give something extra to all my wonderful, supportive fans. Something connected to the songs in a unique way.” She is also an accomplished dancer, having performed and studied classical ballet, jazz and modern dance for over 15 years. She was a soloist with Les Ballets de la jeunesse in her late teens. She also studied jazz ballet and modern dance for several years, and performed as a soloist in various shows by Montreal choreographers Sheila Lawrence and Claudine Bouchard. Her most recent performance combining dance and singing was as the female lead in GLA Productions’ staging of “Fame - the musical”, at the Old Fire Station Theatre in Oxford in 2000. Diane went to England on a Rhodes Scholarship and obtained a doctorate from the University of Oxford. She has since returned to Canada and has taken up a faculty position at the University of Guelph, Ontario. http://musicians.allaboutjazz.com/dianenalini

Awards:  Nominated, Grand Prix de Jazz, Montreal International Jazz Festival 2002 - Runner-up, Young jazz vocalist of the year award, UK, 2001

After Dusk

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Ruby Braff Feat. Coleman Hawkins - Braff!

Styles: Trumpet And Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 40:51
Size: 94,1 MB
Art: Front

(3:08)  1. Stardust
(4:48)  2. Here's Freddie
(4:05)  3. Indian Summer
(2:56)  4. Blue Turning Grey Over You
(3:40)  5. Just One More Chance
(3:24)  6. When My Dreamboat Comes Home
(3:10)  7. You're Lucky To Me
(3:22)  8. Moonglow
(3:12)  9. It's Been So Long
(2:38) 10. Too Marvelous For Words
(3:31) 11. How Long Has This Been Going On?
(2:50) 12. 'S Wonderful

This reissue LP from 1989 in CBS's short-lived Portrait series features the great trumpeter Ruby Braff playing with three very different but equally swinging groups. Four of the best performances, including "Stardust" and "It's Been So Long," showcase Braff with a rhythm section that includes pianist Dave McKenna. 

Braff also meets up with tenor saxophonist Coleman Hawkins, baritonist Ernie Caceres and trombonist Lawrence Brown in an all-star nonet and with vibraphonist Don Elliott in a sextet. The emphasis is on veteran swing standards (Braff does contribute the original "Here's Freddie") and jamming ensembles. This enjoyable program, which is worth searching for, will hopefully be reissued on CD. ~ Scott Yanow  http://www.allmusic.com/album/braff!-mw0000727631

Personnel: Ruby Braff (trumpet);  Coleman Hawkins (tenor saxophone);  Don Elliot (trumpet);  Dave McKenna (piano).

Braff!

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Eddie Harris - Exodus to Jazz

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:45
Size: 91,6 MB
Art: Front

(6:43)  1. Exodus
(3:43)  2. Alicia
(2:53)  3. Gone Home
(5:34)  4. A.T.C.
(2:48)  5. A.M. Blues
(3:24)  6. Little Girl Blue
(5:12)  7. Velocity
(4:34)  8. W.P.
(2:02)  9. Exodus (Single Version)
(2:48) 10. Alicia (Single Version)

One of the biggest hit jazz LPs of the post-rock & roll era, Eddie Harris' Exodus to Jazz seemed to come completely out of left field. It was the debut album by a previously unknown artist from an under-publicized scene in Chicago, and it was released on the primarily R&B-oriented Vee Jay label, which had originally signed Harris as a pianist, not a tenor saxophonist. The impetus for its breakthrough was equally unlikely; Harris adapted Ernest Gold's stately, somber theme from the Biblical film Exodus which had been covered for an easy listening hit by Ferrante & Teicher and made it into a laid-back jazz tune. Edited down to 45-rpm length, it became a smash, reaching the pop Top 40 and pushing the album to the upper reaches of the charts a nearly unprecedented feat for instrumental jazz in 1961. 

Its stunning popularity sent jazz critics into a tizzy after all, if it was that accessible to a mass audience, there just had to be something wrong with it, didn't there? In hindsight, the answer is no. Exodus to Jazz is full of concise, easy-swinging grooves that maintain the appealing quality of the strikingly reimagined title track (particularly Harris' four originals). Far removed from his later, funkier days, Harris plays a cool-toned tenor who owes his biggest debt to Stan Getz's bop recordings, though there are touches of soul-jazz as well. He's no slouch technically, either; he plays so far and so sweetly in the upper register of his horn that some still mistakenly believe he was using an alto sax on parts of the record. Exodus to Jazz paved the way for numerous other crossover successes during the '60s (many in the soul-jazz realm), and while that may not be a credibility-boosting trend to start, the music still speaks for itself. ~ Steve Huey  http://www.allmusic.com/album/exodus-to-jazz-mw0000117010

Personnel: Eddie Harris (tenor saxophone); Joe Diorio (guitar); Willie Pickens (piano); Harold Jones (drums).

Exodus to Jazz

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David Kikoski - Combinations

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 52:35
Size: 120,6 MB
Art: Front

(5:50)  1. Improvisations
(6:43)  2. Cecilia
(5:50)  3. Duo, Part I
(1:33)  4. Bass Interlude
(7:51)  5. Tamami
(6:42)  6. Harmonizing Instincts
(8:01)  7. Blues For Us
(5:13)  8. Duo, Part II
(4:47)  9. Trio Improvisation, Part II

The victim of corporate disregard for an artist's work, pianist David Kikoski has recorded many records as a leader over the years, although all but his most recent string of releases for Criss Cross are currently unavailable. This fact, along with his extensive work as a sideman, meant that until 1998's Inner Trust, few were aware of Kiksoki's talents as a leader. 

Reaching a pinnacle on his previous set, Surf's Up, Kikoski has honed a particularly incisive musical relationship with drummer Jeff "Tain" Watts which is no less palpable on Combinations. This time out, we also get to hear Seamus Blake return to the fold on two of the nine pieces, all written by Kikoski. The premise for Combinations is simply stated by the album title, Kikoski engaging in different sized ensemble combinations taken from the pool of musicians on hand. There are two duo tracks with only the pianist and bassist Boris Kozlov as the leads. 

Aside from a brief bass interlude and the pair of quartet tracks with Blake, the remaining cuts feature the trio and it's a potent one, capable of great flights of fancy be it on the blues or more advanced forms. While it might be said that we have somewhat of a mixed bag here taken as a whole, the majority of the individual parts are distinctive enough to merit attention. ~ C.Andrew Hovan  http://www.allaboutjazz.com/combinations-david-kikoski-criss-cross-review-by-c-andrew-hovan.php
 

Personnel: David Kikoski: piano; Boris Kozlov: bass; Jeff "Tain" Watts: drums; Seamus Blake: tenor sax (2, 6).

Combinations

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Slim Gaillard - Slim Gaillard Remastered Collection

Size: 134,3 MB
Time: 57:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. That's A Bringer - That's A Hanger - That's A Drag (Remastered 2015) (2:56)
02. A-Well-A-Take-'em-A-Joe (Crap Shooter's Jive) (Remastered 2015) (2:59)
03. Chicken Rhythm (Remastered 2015) (2:52)
04. Swingin' In The Key Of C (Remastered 2015) (2:41)
05. Boot-Ta-La-Za (Remastered 2015) (3:22)
06. (My Darling) It's You, Only You (Remastered 2015) (3:09)
07. Beatin' The Board (Remastered 2015) (2:57)
08. Look Out (Remastered 2015) (2:51)
09. Matzoh Balls (Remastered 2015) (2:33)
10. Early In The Morning (Remastered 2015) (2:34)
11. Chittlin' Switch Blues (Remastered 2015) (2:48)
12. Huh ! Uh-Huh! (Remastered 2015) (2:49)
13. Windy City Hop (Remastered 2015) (2:41)
14. Baby Be Mine (Remastered 2015) (2:55)
15. Sploghm (Remastered 2015) (2:32)
16. Fitzwater Street (Located In Philadelphia) (Remastered 2015) (2:48)
17. Don't Let Us Say Good-Bye (Remastered 2015) (2:57)
18. Rhythm Mad (Remastered 2015) (2:45)
19. Bongo (Remastered 2015) (2:56)
20. Broadway Jump (Remastered 2015) (2:48)

A cult hero, Slim Gaillard was a frequently hilarious personality whose comedy (inventing his own jive language with a liberal use of the words "vout" and "oreenee") generally overshadowed his music. In the mid-'30s he had a solo act during which he played guitar while tap dancing! In 1936 Gaillard began teaming with bassist Slam Stewart as Slim and Slam. Their very first recording became his biggest hit, "Flat Foot Floogie." Slim and Slam were a popular attraction up to 1942 with such other songs as "Tutti Frutti" and "Laughin' in Rhythm." By 1945 Gaillard had a new bassist, Bam Brown (whose frantic vocals matched well with Slim's cool if nonsensical voice), and "Cement Mixer" and "Poppity Pop" caught on. Gaillard, who played electric guitar influenced by Charlie Christian, fairly basic boogie-woogie piano and vibes, led an unusual date with guests Charlie Parker and Dizzy Gillespie (1945) that was highlighted by "Slim's Jam." Throughout the 1940s in Los Angeles, Gaillard had a strong following, using such sidemen as Zutty Singleton and Dodo Marmarosa, but the popularity of jive singers (which included Harry "The Hipster" Gibson and Leo Watson) ran its course and after 1953 Gaillard only led two other record sessions (in 1958 and 1982). In the 1960s he was largely outside of music, running a motel in San Diego, but by the late '70s Slim Gaillard was back on a part-time basis, still singing "Flat Foot Floogie" and making one wonder why this comic whiz was neglected for nearly three decades. ~Scott Yanow

Slim Gaillard Remastered Collection

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The Charles Owens Trio - A Day With Us

Size: 159,6 MB
Time: 69:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Caravan (10:30)
02. Dutch ( 7:32)
03. Ummg ( 6:26)
04. The Man I Love (10:01)
05. Take Five ( 8:03)
06. Something ( 6:12)
07. No Resolution ( 6:54)
08. On A Slow Boat To China ( 8:14)
09. You Go To My Head ( 5:07)

Even when factoring in the vital contributions of bassist Andrew Randazzo and drummer Devonne Harris, there's no denying Charles Owens' firm hold on the nine tracks of A Day With Us. Throughout a program consisting largely of standards, the music is ruled by the broad, resonant sound of the leader's tenor saxophone and the dogged persistence that characterizes everything he plays. As if building something momentous on the spur of the moment with his wits and the force of his will, the sounds conjure up hard labor, sweat, and grime. In some instances Owens shovels notes out of the bell of his horn; in others, he wields a pneumatic drill.

Most of Owens' solos (not to mention his introductions and post-out head forays) are long, irrepressible and headstrong. Just when you begin to wonder when he'll stop, give up, or bow out, there comes another chorus (or two or three) of smart, brawny invention. For all of the detours and digressions, the architecture of his solos is logical and relatively easy to follow. More often than not, when an improvisation ends, it begs the question: How can Owens sound so earthy, deep-rooted, yet move relentlessly and cover so much territory? And there's something positively addictive about the long way, Owens' preferred, circuitous route to a destination. Upon reaching the conclusion of "You Go To My Head," the disc's last track, an all-too-brief cadenza thwarts the expectation—and the desire—for another elongated, effusive, daring statement.

Owens employs a number of devices that keep any threat of monotony or predictability at bay. He executes the in and out heads of "Caravan," "The Man I Love," and "You Go To My Head" in somewhat different ways, altering the tunes' identities and shifting the music's emotional temperature. A protracted and wildly inventive solo introduction animates "Caravan," the disc's opening track. The leader reinforces the tight-knit character of his working band by playing accompanying figures to Harris' solos on "Caravan," "UMMG," and "Take Five." Owens' puckish sense of humor often appears out of nowhere and disappears just as quickly. For instance, a number of tart, staccato bites flavor an otherwise sober "The Man I Love" solo. In contrast to a forthright take on the rest of the song, he transforms a portion of the bridge of "You Go To My Head" into a jaunty burlesque.

"Something" and "The Man I Love" are two prime examples of Owens ability to fashion familiar material to suit his improvisational character. Dispensing with the customary protracted introduction, the saxophonist executes a straightforward rendition of George Harrison's tune and includes a rather faithful reproduction of Harrison's guitar solo from the Beatles' recording. Owens gradually releases himself from some of the song's constraints and constructs something raw, ragged, and romantic on top of it.

The record's masterpiece is a ten-minute treatment of George Gershwin's iconic "The Man I Love." To Owens' credit, throughout the melody and a good deal of the improv, it's tough to identify what, emotionally speaking, he seeks to convey—hope, guarded optimism, yearning, weariness, resignation? Slowly and painstakingly shaping the line he compels the listener to pay close attention to every note. The melodies Owens finds during his solo are just as purposeful and emotionally amorphous. For a time he opens up a bit, gradually becoming vigorous and terse, among other things cutting loose with one scream, shadowed by a short-lived silence. In contrast to the opening the out head is penetrating, at times almost rubbing the melody raw. The two-minute plus cadenza that follows marks the return of the restless, probing, bold tenor saxophonist. Owens defies the relative caution of the rest of the track in favor of going wherever his imagination takes him, and in doing so, leaves "The Man I Love" behind. ~David A. Orthman

Personnel: Charles Owens: tenor saxophone; Andrew Randazzo: bass; Devonne Harris: drums

A Day With Us

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Jazz At The Movies - Kiss Kiss Bang Bang

Size: 132,5 MB
Time: 56:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Prelude From Psycho (1:00)
02. Close Enough For Love (4:48)
03. Pure Imagination (3:52)
04. Sooner Or Later (4:19)
05. Mr Kiss Kiss Bang Bang (3:13)
06. It Might Be You (3:28)
07. The Summer Knows (4:15)
08. Put The Blame On Mame (3:48)
09. I'd Rather Have The Blues (4:08)
10. Chovenda Na Roseira (3:31)
11. More Than You Know (4:25)
12. The Man That Got Away (4:35)
13. When I Look In Your Eyes (2:52)
14. South American Getaway (4:48)
15. Love Music From Vertigo (3:22)

Starring Joanna Eden as 'The Singer' and co-starring the Chris Ingham Quartet as 'The Boys in the Band', Jazz At The Movies is a unique jazz group formed specifically to interpret movie themes and soundtrack songs taken from a wide-range of silver screen sources both familiar and obscure.

Their refined dramatic and jazz sensibilities produce sounds that celebrate the meeting point of songcraft and swingcraft. With a reputation for vibrant music, deep repertoire and droll presentation, JATM have become a regular sell-out at Ronnie Scott's, St James Theatre, the Royal Albert Hall's Elgar Room and many jazz clubs, theatres and Arts Centres throughout the UK.

JATM features evocative vocals by acclaimed singer Joanna Eden, bewitching saxophone and clarinet from star reedsman of the John Wilson Orchestra Mark Crooks and atmospheric textures and grooves from Chris Ingham (piano), Rev. Andrew Brown (bass) and George Double (drums).

For their second JATM album 'Kiss Kiss Bang Bang', the band interprets material from movies made between 1946 and 1990. Bookending the record with a sumptuous pair of Bernard Herrmann's Hitchcock themes, JATM allow Ms Eden full reign to explore her diva tendencies on Sondheim's "Sooner Or Later" from Dick Tracy (1990) and the Arlen/Gershwin classic "The Man Who Got Away" from A Star Is Born (1954), along with her multi-lingual skills on Jobim's "Chovenda Na Roseira" from The Adventurers (1970).

"Movie songs like these provide good material for the best jazz singers. Joanna Eden and her first-class band had a ball with them." - Jazz Journal

Kiss Kiss Bang Bang

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Karin Hammar - Imprints

Size: 116,6 MB
Time: 50:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Good Things Are Free (5:14)
02. Imprints (4:40)
03. Sai Fora (4:39)
04. Stationary (5:59)
05. Vera Cruz (5:07)
06. Light Is Your Shadow (4:10)
07. Lifewish (5:50)
08. Man's Best Friend (3:46)
09. Waltz For Restless Souls (6:50)
10. Overjoyed (4:06)

Sophisticated jazz played with virtuosity and at times with hypnotic beats and bass lines. The trombone player Karin Hammar herself convinces with a lush, often lyrical sound. Well arranged, tight and with strong melodies, all songs are written by Karin Hammar, who has developed to one of Sweden´s best trombone players, always with constant variation in her playing.
Karin Hammar's strength is her fluent, singingly melodic playing. It becomes wonderfully elegiac in a kind of controlled melancholy. Her music is light and melodic, with shimmering harmonies and softly driven rhythm. Latin moods mixing with a proud jazzy tone. This is definitely music for everyone who is curious of jazz in a new unique style.

Imprints

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Darby Williams - Me

Size: 101,1 MB
Time: 41:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. No One Knows (Feat. Peabo Bryson) (3:26)
02. Do Nothin' Till You Hear From Me (4:36)
03. Something To Live For (4:03)
04. Prelude To A Kiss (4:48)
05. Mood Indigo (4:36)
06. Daydream (3:47)
07. I Didn't Know About You (4:35)
08. Lush Life (3:56)
09. In A Sentimental Mood (4:08)
10. Sophisticated Lady (3:54)

Tall, blond, bodacious and sensual, newcomer Darby Williams commands the stage just as she commands her dynamic vocal range, with artistic creativity and a personal touch not often found today. Signed personally to Roc Cartel by label founder and President Ray De La Garza, Williams captures the essence and the nuances of perhaps the greatest collaborators in jazz history – Duke Ellington and Billy Strayhorn.

"Darby has such a diverse vocal range that her interpretation of these songs makes them relevant and accessible to everyone. We are looking forward to introducing this work to many who are not yet familiar with this legendary music, as well as, to those who hold a deep appreciation for these timeless classics." -Ray De La Garza.

With her debut album Me, such titles as “Lush Life,” “Mood Indigo,” and “Do Nothin' Till You Hear From Me”, echo the sweltering notes and delicate compositions of this illustrious partnership. Darby’s interpretation of their compositions is both thoughtful and intoxicating. The delicate nature of her phrasing, and obvious feel for American Songbook material is immediately evident. The single, "No One Knows" features Darby with two-time Grammy Award winner Peabo Bryson in a soulful duet, that is sure to keep your foot tapping.

“One splendid example of Darby’s suitability for wider exposure emanates from Me: the simply grand interpretation, the swinging horns, the wonderful drumming, and intoxicating vocals on ‘Do Nothin’ – this track alone is worth the price of the album – and if she can deliver in live performance what she does here in the studio, look out jazz world!” - music critic Brian Miller.

"Darby is a fantastic vocalist with command and range. I've sung with the greats and she's more than holding her own." -Peabo Bryson

Me

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