Johnny Hodges - The Eleventh Hour/Sandy's Gone

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 30:18 + 26:15
Size: 69,8 MB + 60,5 MB
Art: Front

Album:  The Eleventh Hour

(2:25)  1. Something to Live For
(2:59)  2. In a Sentimental Mood
(2:40)  3. I Didn't Know About You
(3:35)  4. Guitar Amour
(2:06)  5. You Blew Out the Flame (In My Heart)
(2:17)  6. Theme from 'The Eleventh Hour'
(1:59)  7. Love Song from 'Mutiny on the Bounty'
(2:39)  8. Solitude
(2:00)  9. Satin Doll
(2:48) 10. Don't Blame Me
(2:43) 11. Prelude to a Kiss
(2:01) 12. Warm Valley

Album: Sandy's Gone

(2:10)  1. Sandy's Gone
(2:15)  2. Monkey Shack
(2:14)  3. Wonderful, Wonderful
(2:10)  4. Scarlett O'Hara
(2:13)  5. Candy's Theme
(1:53)  6. Follow Me
(2:17)  7. Blue Velvet
(2:21)  8. So Much in Love
(1:55)  9. Again
(2:20) 10. Deep Purple
(2:20) 11. Since
(2:02) 12. 'The Caretakers' Theme

Two Verve albums from Johnny Hodges both relatively obscure, and both pretty darn great! The Eleventh Hour is an overlooked gem from Johnny Hodges  a 60s session that hearkens back to the "with strings" Verve mode of the 50s but one that also updates the approach strongly, thanks to some well crafted arrangements by Oliver Nelson! Nelson's work in the jazz backings for soloist mode during the 60s was some of the best of the big band genre  and although his work here is much more in the mellow tone mode than his backings for players like Jimmy Smith and Lou Donaldson, Hodges is still getting top shelf treatment, some really wonderful washes of sound and color that show that his tone is still very much alive! A nice preface to the pair's classic set for Flying Dutchman and with tracks that include "Something to Live For", "Don't Blame Me", "Warm Valley", "The Eleventh Hour", "Guitar Amour", and "You Blew Out The Flame In My Heart". 

Sandy's Gone is a set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman a mode that's a bit more groovy and 60s than some of Johnny's previous work in a setting that offers up a nice change for his sound! Claus is in fine form here swinging with the same style as his own instrumental records for RCA in the 60s echoes of his German roots, especially in the use of bass at the bottom which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too almost pop, but still very strongly rooted in jazz on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me". https://www.dustygroove.com/item/626604

The Eleventh Hour/Sandy's Gone

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Melanie - Let It Be Me

Size: 182,0 MB
Time: 77:36
File: MP3 @ 320K/s
Released: 2015
Styles: Folk Rock, Pop Rock
Art: Front

01. Let It Be Me (Feat. David Sanborn) (3:59)
02. Unchained Melody (3:36)
03. Lay Lady Lay (6:18)
04. Pebbles In The Sand (3:29)
05. Carolina On My Mind (3:46)
06. Leftover Wine (4:51)
07. Long Train Runnin' (3:23)
08. I'm Back In Town (2:19)
09. True Believers (3:20)
10. Ring The Living Bell (4:49)
11. Please Love Me (3:16)
12. Garden City (2:33)
13. Love In My Mind (3:40)
14. Momma Momma (3:57)
15. Gods Only Daughter (2:28)
16. Baby Guitar (3:13)
17. Silence Is King (4:10)
18. In My Rock & Roll Heart (5:33)
19. What Have They Done To My Song, Ma (4:02)
20. Mr. Tambourine Man (Feat. Julie Felix) (4:45)

She's won a Grammy, an Emmy, scores of top female vocalist awards, and the hearts of millions from Woodstock to Albert Hall. Over her long career, Melanie has recorded over 25 albums and sold millions of records.

During her lifetime, Melanie has amassed an impressive list of accomplishments. More impressive, however, is the fact that she did it without sacrificing her personal integrety. She was the first contemporary solo artist to play Carnagie Hall, the Met, the Sydney Opera House, and for the United Nations General Assembly. While Melanie persued her career, she also contributed time and energy for a while as the chief spokesperson for UNICEF.

Melanie's voice is a powerful instrument, and she sings with a unique passion and intensity. Her lyrics are thoughtful, and sometimes mysterious. Her melodies are often beautiful beyond description. Her style is captivating. In all the world of music, there is no one else like her.

I forgot to include album cover in the rar file. Please click on picture's post and save to album folder.

Let It Be Me

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Annette Warren - Annette Warren Sings... There's A Man in My Life! Plus Selected Rarities (Remastered)

Size: 185,6+185,6 MB
Time: 78:29+78:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

CD 1:
01. Shufflin' Shoes (Remastered) (1:59)
02. Night Wind (Remastered) (1:56)
03. Frost On The Moon (Remastered) (2:05)
04. Swamp Mist (Remastered) (1:55)
05. Am I Blue (Remastered) (2:41)
06. Lots Of Luck To You (Remastered) (3:02)
07. How High The Moon (Remastered) (2:56)
08. Falling In Love Again (Can't Help It) (Remastered) (2:53)
09. Oh, Won't You Please Come Back To Poor Me (Remastered) (2:33)
10. Good For Nothing (Remastered) (2:37)
11. What'll I Do (Remastered) (2:45)
12. I Never Knew (Remastered) (1:55)
13. Call Me Darling (Remastered) (2:40)
14. Down By The O-Hi-O (Remastered) (2:25)
15. Honda Hula (Remastered) (2:40)
16. A Guitar Has Played Its Last Love Song (Remastered) (2:39)
17. Could They Be Teardrops (Remastered) (2:45)
18. When Maple Leaves Are Red (Remastered) (2:37)
19. Let's Go Out To The Movies (Remastered) (2:27)
20. Gone (Remastered) (2:48)
21. Mister Kemp Say (Remastered) (2:54)
22. In My Heart (Remastered) (2:33)
23. Why Don't You Act Like A Caveman (Remastered) (2:45)
24. Beside The Hondo (Remastered) (2:59)
25. Tell Me You're Glad That I'm Sorry (Remastered) (2:49)
26. I Found The Old Wishing Well (Remastered) (2:40)
27. Sunrise Darling (Remastered) (2:58)
28. When It's Nighttime, It's Lovetime (Remastered) (2:56)
29. Sweetheart Of The Hills (Remastered) (2:32)
30. It Was Wonderful (Remastered) (2:53)

CD 2:
01. Tame Me (Remastered) (2:40)
02. Circle (Remastered) (2:44)
03. I'm A Puppet On The Strings Of Love (Remastered) (2:38)
04. My Boy (Remastered) (1:59)
05. Take His Hand (Remastered) (3:07)
06. The Right Kind Of Love (Remastered) (2:33)
07. There's A Man In My Life (Remastered) (2:16)
08. A Little At A Time (Remastered) (3:53)
09. If You Go (Si Tu Partais) [Remastered] (2:02)
10. More Than You Know (Remastered) (3:22)
11. Year After Year (Remastered) (1:57)
12. Warm All Over (Remastered) (2:25)
13. Suddenly It's Spring (Remastered) (2:10)
14. What Does It Matter (Remastered) (2:18)
15. Dearly Beloved (Remastered) (1:33)
16. Wrong Joe (Remastered) (2:30)
17. When I'm With You (Remastered) (3:11)
18. Out Of This World (Remastered) (2:28)
19. Empty Arms (Remastered) (2:11)
20. Having A Wonderful Dream (Remastered) (1:51)
21. Meetcha Round The Corner (Remastered) (1:34)
22. Can't Help Lovin' That Man (Remastered) (3:02)
23. Bill (Remastered) (3:55)
24. My Buddy (Remastered) (3:07)
25. Stormy Weather (Remastered) (3:21)
26. Old Fashioned Love (Remastered) (2:04)
27. Fatima From Argentina (Remastered) (2:38)
28. The Honda Hula (Remastered) (3:02)
29. Am I Blue/Interview/I Concentrate On You (Remastered) (5:49)

Of all the “secret” singing stars of Hollywood -that is, those unheralded but talented vocalists who helped make so many actors appear to shine in movie musicals— one of the most versatile and vivacious was undoubtedly Annette Warren, an accomplished pianist and song stylist, born in Cleveland in 1922, who is best remembered today for her vocal performances of Bill and Can’t Help Lovin’ That Man in the 1951 film version of “Show Boat” with Ava Gardner.

This extensive compilation of her early work (1945-1957) includes all of her early Brick Fleagle and Phil Moore recordings, rare soundtrack and broadcast performances and several singles—including the infamous Starland sessions, historically interesting because of the jazz artists involved, but even more importantly because they brought Annette together for the first time with pianist Paul Smith, who would later become the most important figure in her life.

Also featured is Annette’s complete critically-acclaimed 1957 album, “There’s a Man in My Life!,” a jewel that has been newly polished in digital sound and showcases Annette Warren’s vocal artistry at its very best. “As a singer, Annette Warren can do no wrong,” said Steve Allen. “She has a full, rich, womanly tone which brings warmth and clarity to anything she sings.”

Sources CD 1:
Tracks #1 & 2, from H.R.S. Music Library
BF-1000 (33 1/3 RPM)
Tracks #3 & 4, from H.R.S. Music Library
BF-1001 (33 1/3 RPM)
Tracks #5 & 6, from Black and White 78 RPM
826 A (BW 553), 826 B (BW 552)
Tracks #7 & 8, from Black and White 78 RPM
849 A (BW 613), 849 B (BW 614)
Tracks #9 & 10, from Starland Records (78 RPM)
201-1A (230-G), 201-1B (211-W)
Tracks #11-16, from the 78 RPM Starland album
“Favorite Songs of Annette Warren”
#11: AL-1A (1004 M); #12: AL-1B (1006 M)
#13: AL-2A (1005 M); #14: AL-2B (1007 M)
#15: AL-3A (1009 M); #16: AL-3B (1003 M)
Tracks #17 & 18, from Starland Records 78 RPM
209-1A (234-N), 209-1B (213-U)
Tracks #19 & 20, from Starland Records 78 RPM
216-1A (1002 M), 216-1B (1008 M)
Tracks #21 & 22, from Starland Records 78 RPM
217-1A (259-K), 217-1B (210-J)
Tracks #23 & 24, from Starland Records 78 RPM
232-1A (229-H), 232-1B (268-M)
Tracks #25 & 26, from Starland Records 78 RPM
234-1A (248-U), 234-1B (259-I)
Tracks #27 & 28, from Starland Records 78 RPM
225-1A (239-F), 225-1B (272-T)
Tracks #29 & 30, from Starland Records 78 RPM
236-1A (205-B), 236-1B (268-G)

Sources CD 2:
Tracks #1 & 2, ABC Paramount single 45-9657
Tracks #3 & 4, ABC Paramount single 45-9710
Tracks #5 & 6, ABC Paramount single 45-9733
Tracks #7-18, from the ABC Paramount album ABC 183
Tracks #19-26 & 29, from radio broadcasts
Tracks #27 & 28, unissued Starland recordings

Annette Warren, vocals, accompanied by:
CD 1:
Tracks #1-4:
Brick Fleagle Orchestra, Frank De Martino, Jack Lambert, Bob Sprentall, trumpets; Eddie Anderson, Harry Walters, Irving Sharp, Chuck Evans, trombones; Bill Vitale, Doc Clifford, alto sax & clarinet; Eddie Lichenstein, Stuart McKay, tenor saxes; Sam Lambie, baritone sax; Conrad Lanoue, piano; Ralph Tressel, guitar; Francis Palmer, bass; Vic Engle, drums. Brick Fleagle, arranger.
Recorded in New York City, May 1945

Tracks #5-8:
Phil Moore Orchestra (1947)

Tracks #9-30:
Paul Smith Trio (1950-1954)
Paul Smith, piano; Red Callender, bass; Wes Nellermoe, guitar. Featuring Marshal Royal, clarinet, plus an unknown violinist added in some tracks.
Track #15 with The Sherrill Sisters
Track #19 with The Knightingales

CD 2:
Tracks #1-6:
Orchestra Arranged and Conducted by Don Costa
Recorded in New York City, November 19, 1955 [1-2]
Recorded in New York City, June 9, 1956 [3-5]
Recorded in New York City, January 16, 1957 [6]

Tracks #7-18:
Orchestra Arranged & Conducted by Frank Beery
Recorded in New York City, November 18, 1957

Bonus Tracks #19-29: Unknown personnel

Annette Warren Sings... CD 1
Annette Warren Sings... CD 2

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Bill Laurance - Aftersun

Size: 122,2 MB
Time: 52:40
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Electronic Crossover
Art: Front

01. Soti (5:24)
02. The Pines (6:23)
03. Time To Run (8:19)
04. Madeleine (4:57)
05. Bullet (4:04)
06. Aftersun (5:59)
07. First Light (4:55)
08. Golden Hour (4:39)
09. A Blaze (7:57)

Bill Laurance returns with Aftersun, a paean to space exploration and life in the cosmos. The music is filtered down to its roots in a quartet that features fellow bandmates from Snarky Puppy Michael League and Robert "Sput" Searight, along with legendary New Orleans percussionist Weedie Braihma.

With flavors of Dance music and African percussion at its heart, the album combines deep world grooves with Laurances signature genre-bending exploration.

Aftersun

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Lauren Bush - All My Treasures

Size: 120,9 MB
Time: 52:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. I've Got Just About Everything I Need (3:25)
02. I'm Old Fashioned (3:57)
03. Dindi (5:31)
04. Secret Love (5:27)
05. A, You're Adorable (3:26)
06. I'm Gonna Sit Right Down And Write Myself A Letter (5:35)
07. Detour Ahead (5:16)
08. Charade (4:53)
09. Sweet Georgia Brown (4:09)
10. Doodlin' (3:57)
11. You're Nearer (3:18)
12. Feelin' Alright (3:20)

Originally born and raised in Canada, Lauren relocated to London, UK to pursue music on a new level just over 3 years ago. Daughter of an accomplished jazz trumpeter father and music teacher mother, it is no surprise that Lauren grew up to have such an aptitude for music. She ignored her gift for many years, certain that music would only be a hobby; taking voice lessons but was too afraid to perform. In 2004, on a whim, Lauren auditioned for her university big band, won the position and never looked back.

Traveling extensively around North America, Lauren has had some amazing opportunities to perform. Some highlights of her career include opening for Maynard Ferguson, performing with her quartet at the Corpus Christi Jazz Festival 2 years running, playing at the Victoria International Jazz Festival, sharing the stage with Bobby McFerrin at the Idaho Jazz Festival and singing in Handy Park in New Orleans. Since moving to London, highlights include playing at Elgar Room, Royal Albert Hall and being a finalist in the Riga Jazz Stage competition in Riga, Latvia.

In 2010, Lauren's quartet recorded their first demo with some unique arrangements of standard tunes like Softly, as in a Morning Sunrise and When You’re Smiling. Three of these recordings have received radio airplay around the world and Softly, as in a Morning Sunrise has had over 160,000 views on Youtube.

Lauren is quickly establishing herself on the London jazz scene and is breaking into the European scene as well. She performes regularly in Italy to sing with her Italian quartet fronted by Luca di Luzio on guitar and hosted by La Jazzlife Associazione.

Find Lauren currently at her weekly residency at The Charterhouse Bar in the heart of Smithfield Market.

All My Treasures

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Chris Standring - Ten

Size: 112,6 MB
Time: 48:10
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz
Art: Front

01. Ready Steady Flow (4:26)
02. Snake Oil (4:21)
03. Magic Carpet Ride (6:53)
04. Carousel (4:31)
05. Like This, Like That (4:39)
06. Soul Vibration (4:24)
07. Bossa Go Go (3:53)
08. Parisian Blue (3:59)
09. Piece Of Cake (4:01)
10. Never Too Late (5:36)
11. Magic Carpet Ride (Reprise) (1:23)

The trademark groove that guitarist Chris Standring cultivated with recordings such as ‘Soul Express’ and Love & Paragraphs’ served to define him as a serious contributor to the evolution of contemporary jazz. Not only that, his innovative use of a string quartet for the albums ‘Blue Bolero’, ‘Electric Wonderland’ and ‘Don’t Talk, Dance!’ further enabled him to stand out from the crowd. Now, in the familiar company of Andre Berry, Rodney Lee and drummer Dave Karasony, he is back with his tenth studio project, the appropriately titled ‘Ten’.

This collection of ten original compositions opens with ‘Ready Steady Flow’ that (complete with splashes of Standring on vocoder) also happens to be the first track serviced to radio. Held down by Berry on bass, this edgy number is in the good company of ‘Like This Like That’ that is added to in no small measure by fine organ from Rodney Lee.

Elsewhere the easy paced ‘Snake Oil’ is given a nice twist by interjections of sax from Dino Soldo and, although Standring uses ‘Bossa Go Go’ to embark on an intoxicatingly rhythmic roll, it is with ‘Parisian Blue’ that he finds an understated but perfectly executed jazz vibe.

In terms of personal favorites the superbly turned down ‘Soul Vibration’ is a real delight yet right up there with it is ‘Piece Of Cake’ that sort of sneaks up to captivate the listener in the most subtle of ways. As the tempo slows yet further both ‘Carousel’ and ‘Never Too Late’ can aptly be described as beauty personified but it with ‘Magic Carpet Ride’ that Standring really pushes out the boundaries. Deep and moody, sensuous and jazzy, he comes up big on both guitar and keys while later, when Standring reprises the tune on acoustic guitar, he makes it sound brand new.

Make no mistake; this is a really top-notch CD that is sure to evolve into one of the standout releases of 2016.

Highly recommended.

Ten

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Yolanda Rabun - Yolanda

Size: 107,3 MB
Time: 46:17
File: MP3 @ 320K/s
Released: 2016
Styles: Smooth Jazz, Jazz/Soul Vocals
Art: Front

01. Be My Husband (4:55)
02. Believe In Love (4:14)
03. Feel Like Making Love (5:14)
04. Rocket Love (5:13)
05. Set For Life (3:52)
06. Yes (4:10)
07. Love Is Here To Stay (4:51)
08. Hold On To Your Dreams (3:52)
09. I Hope You Dance (5:27)
10. Take The Day Off (4:24)

Having graduated from a renowned performing arts high school in her hometown of Atlanta, Georgia, Yolanda Rabun (pronounced yo·lawn·duh | ray·bun) honed her singing and stage skills from a young age.

She is a fierce songstress and North Carolina based recording artist who also is versatile enough to handle all styles of music, although she favors jazz and soul. She says, “…really any music can lift your heart, warm your soul and awaken your senses; delivery is key.”

Rabun exploded onto the jazz scene first on Stanley Baird’s 2007 Traffic Jam hit single, “I Want 2 Love You,” and, in 2011, released her debut CD project, “So Real,” on which she co-wrote several songs, including the title song. In 2012, Rabun infused Soul, R&B, Gospel, Folk, Smooth and Traditional Jazz on her sophomore solo album, “Christmastime,” and followed in 2013 with the Adult Contemporary single, “Hold on To Your Dreams.”

A skilled singer with a natural storytelling instinct, Yolanda Rabun comes out the gate stunning her live audiences with her endless energy, commanding vocal power, and inventiveness. Her stage shows are engaging, full of passion, and include straight-ahead and contemporary Jazz, Blues, Folk, Pop, and even Gospel. And, Yolanda is never afraid to take risks.

This rich-voice chanteuse has opened for and sung with such iconic artists as Jennifer Holiday, Howard Hewitt, Ron Isley and the Isley Brothers, R&B singer KEM and the world-renowned iconic drummer, Sheila E.

Yolanda has also performed with the NC Opera, the Durham Symphony, and the Raleigh Symphony Free Spirits; she appeared on a number of TV and radio programs, achieved notoriety on regional theatre stages with magnificent reviews alongside Tony-award winning actors, and is an often requested motivational speaker.

An award-winning attorney who promised the legendary Isaac Hayes she would always sing after working with him on a special arrangement of “God Bless America” for Yolanda’s performance for the late President Ronald Reagan, Yolanda has always decidedly controlled the rights and path to her music. But, with fans around the world and musical admirers throwing hints after live shows at Atlanta’s Jazz Festival, D.C.’s acclaimed Blues Alley Jazz, and Hollywood’s Catalina Jazz, the idea for Yolanda’s third studio album was born in 2014.

For the new project, Yolanda effortlessly shifts between eras and genres but notably decided to take a modern day approach and launch a Kickstarter campaign where her fans eventually helped her raise more than $24,000 to produce the self-titled third studio album.

“The YOLANDA album”, as she affectionately refers to it, “bursts with brilliant soothing strings, energizing funk grooves and melodic musical and lyrical depth.“ Yolanda says, “It is all of me!”

A mix of classics, standards and originals, The YOLANDA album, includes songs that showcase Yolanda’s unique ability to interpret diverse material and deliver meaningful musical stories (whether new or told before) with bare honesty and striking stylings.

Think of a modern day Renaissance or Wonder Woman. Think about it. You might imagine a wise person who is sophisticated and well-educated with self-respect and compassion for others, but also multi-talented in many fields with expert knowledge to tout. She has nothing to prove. She is the proof.

As a wife, mother, corporate lawyer, professional actor, music entrepreneur, motivational speaker, and acclaimed recording-performing artist extraordinaire, Yolanda Rabun fits that description perfectly. She is impressive and transformative. She is the real deal and she is not done!

"The music I'm producing now is carved from my soul with lots of intention and pretty high goals. There is a message for everyone in each song," says Yolanda, who laughs when people rattle off who they think she sounds like! Yolanda counts it a privilege to be able to use her gifts to be an inspiration to others. "I’m excited about being able to share so many facets of me through music that speaks to the hearts of so many! There is more to come!"

For serious live music lovers, press play, the YOLANDA album is here. It is a stunning experience captured for all to enjoy Yolanda Rabun’s brand of Soulful Jazz!

Yolanda

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Coleman Hawkins - With The Red Garland Trio

Styles: Saxophone And Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 36:27
Size: 83,7 MB
Art: Front

( 8:01)  1. It's A Blue World
( 5:57)  2. I Want To Be Loved
( 4:17)  3. Red Beans
(11:55)  4. Bean's Blues
( 6:15)  5. Blues For Ron

One of Hawkins's better Prestige sessions (originally on its Swingville subsidiary) finds him fronting a then-modern rhythm section for a variety of basic originals, the ballad "I Want to Be Loved" and "It's a Blues World." The lengthy "Bean's Blues" is the highpoint of this generally relaxed session. ~ Scott Yanow  http://www.allmusic.com/album/with-the-red-garland-trio-mw0000203066

Personnel: Coleman Hawkins (tenor saxophone); Red Garland (piano); Doug Watkins (bass); Charles "Specs" Wright (drums).

With The Red Garland Trio

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Bob Blakeley - Performance

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 39:58
Size: 93,7 MB
Art: Front

(3:48)  1. Cry Me A River
(3:30)  2. It Don't Mean A Thing (If It Ain't Got That Swing)
(4:07)  3. It Was A Very Good Year
(3:56)  4. Life On Mars
(4:47)  5. You've Lost That Lovin' Feelin
(3:24)  6. God On Drums, Devil On The Bas
(3:38)  7. Abracadabra
(3:31)  8. Just One Smile
(4:24)  9. Kites
(4:48) 10. Whatever You Believe

After failing to make it past the blind audition stage on BBC’s The Voice earlier this year, Bob Blakeley’s debut album, Performance, looks set to debut in the Top 20 this weekend. 

When his rendition of the Ella Fitzgerald classic, Cry Me A River, failed to win over The Voice judges, Tom Jones told 56 year-old warehouse worker, Bob Blakeley, “You should be a professional singer, that’s how good you are.” Well Tom, it looks like Bob did just that! After his surprisingly short lived stint on The Voice, Bob Blakeley was offered a record deal live on TV during an interview with BBC Breakfast. Record label boss, Mike Batt (credited with discovering chart topper Katie Melua, as well as writing the 1979 Official Singles Chart Number 1 classic, Bright Eyes), told BBC Breakfast, "I think the nation felt a sense of injustice [when the judges didn’t turn around] and I share that". Mike snapped up Bob, signing the singer to his label, Dramatico Entertainment, and went on to produce the singer’s debut album, Performance. According to Official Charts Company sales data, Performance is currently sitting at Number 20 on the Official Albums Chart and, if it maintains its sale momentum throughout the week, could well be on track to chart higher on Sunday! "Hearing the news today was just amazing, a total shock." Bob told OfficialCharts.com, “It is absolutely phenomenal. Words can’t describe how I feel. It means so much to me.” http://www.officialcharts.com/chart-news/bob-blakeley-proves-he-has-the-voice-as-he-storms-towards-top-20-__4132/

Performance

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Jan Garbarek - Paths, Prints

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 51:06
Size: 117,4 MB
Art: Front

( 7:16)  1. The path
(10:08)  2. Footprints
( 5:41)  3. Kite dance
( 3:15)  4. To B.E.
( 6:43)  5. The move
( 5:06)  6. Arc
( 6:35)  7. Considering the snail
( 6:18)  8. Still

December of 1981 was a magical month for ECM, producing such treasures as Psalm and Opening Night. On Paths, Prints, however, Manfred Eicher raised the bar yet again in bringing together another of his unique dream teams. Jan Garbarek, Bill Frisell, Eberhard Weber, and Jon Christensen in the same studio? Engineering complexities aside, one need only have hit Record, taken a nap, and awoken to masterful results. Throughout this session, Garbarek’s sharply defined reveries prove the perfect fulcrum for Frisell’s broadly sweeping clock hands. Garbarek also exposes a softer side, as in the whispered edges of “The Path” and “Arc,” and in the seesawing contours of “Still.” The painterly movements of “Kite Dance,” on the other hand, foreground Weber’s globules of sound against the blush and heartwarming soloing of Frisell’s omnipresent guitar. 

Not too far behind are “Footprints,” which shows Christensen in an especially colorful mood, and “The Move,” which pours on Garbarek’s signature lilt like heavy cream. Certainly his most effective passages are also the most intimate: “Considering The Snail” and “To B.E.,” the latter a duet with Frisell, are concave, while their surroundings are convex. One can easily fall into the trap of painting ECM jazz as forlorn, breezy, and overwhelmingly lonesome. Yet one journey through Paths, Prints is all it takes to realize that the music is always our companion. http://ecmreviews.com/2011/11/10/paths-prints/

Personnel:  Jan Garbarek - tenor and soprano saxophones, wood flutes, percussion;  Bill Frisell – guitar;  Eberhard Weber – bass;  Jon Christensen - drums, percussion

Paths, Prints   

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Petra Pacaric - No More Blues

Styles: Vocal Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 30:25
Size: 70,5 MB
Art: Front

(3:21)  1. Samba Saravah
(3:22)  2. No More Blues
(2:34)  3. The Best Is Yet To Come
(3:05)  4. O Pato
(3:31)  5. The Girl Of Ipanema
(3:08)  6. Waters Of March
(4:12)  7. Besame Mucho
(3:15)  8. Just The Two Of Us
(3:53)  9. La Vie En Rose

"No More Blues" gives a sparkling homage to the beauty of the Bossa Nova, French, Latin, and American Jazz genres. Based on the Brazilian original "Chega de Saudade", No More Blues symbolizes the artist's journey performing an enormous range of styles over the years, from folk, to pop, to opera, to jazz. No More Blues stands for the realization that even the most exciting journeys, including musical ones, eventually lead to that soothing place where coming home becomes the new adventure. Petra Pacaric is a versatile vocalist whose musical upbringing in Europe and fluency in five foreign languages made it possible for this artist to assimilate almost every thinkable style of music throughout her unique performance career. No More Blues is a musical cocktail of exciting tunes that are guaranteed to please. https://www.cdbaby.com/cd/petrapacaric

No More Blues

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John Sheridan And His Dream Band - Swing is Still the King

Styles: Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:35
Size: 157,5 MB
Art: Front

(4:35)  1. Always
(5:53)  2. Ballad in Blue
(6:36)  3. You Turned the Tables on Me
(4:08)  4. You're a Heavenly Thing
(3:27)  5. Did You Mean It?
(4:11)  6. Sometimes I'm Happy
(4:28)  7. Keep Me in Mind
(4:27)  8. Behave Yourself
(4:24)  9. Shirley Steps Out
(5:05) 10. Don't Be That Way
(4:19) 11. Take Another Guess
(3:33) 12. I Had to Do It
(5:09) 13. These Foolish Things (Remind Me Of You)
(5:00) 14. Gotta Be This or That
(3:12) 15. Goodnight, My Love

Pianist John Sheridan has worked hard to keep the spirit of swing alive, both in other bands and as a leader. On Swing Is Still the King, he furthers his effort with the support of singer Rebecca Kilgore and an ensemble of nine other players, including guitarist Eddie Erickson, cornetist Randy Reinhart, and saxophonist Dan Block. Sheridan has named this combo His Dream Band, and the players are given a chance to strut their stuff on the first three instrumentals, including a nice take of Irving Berlin's "Always" and a six-and-half-minute version of "You Turned the Tables on Me." Although the ensemble is fairly large, the arrangements are spare and flexible.

Kilgore joins the band on the fourth cut, "You're a Heavenly Thing," and her vocals play a large role on Swing Is Still the King, fronting the band on ten of the 15 tracks. Kilgore has good tone and works well within the classic medium of swing, and it's nice that she has chosen songs that are not overly familiar. She delivers a fine version of Mel Powell's "Shirley Steps Out," and is equally at home with ballads and uptempo numbers. With sympathetic vocals, a solid band, and good songs, Sheridan will easily convince listeners that Swing Is Still the King. ~ Ronnie D.Lankford,Jr.  http://www.allmusic.com/album/swing-is-still-the-king-mw0000576897

Personnel: John Sheridan (vocals, piano); Rebecca Kilgore (vocals); Eddie Erickson (guitar); Daniel Block (clarinet, alto saxophone, tenor saxophone, baritone saxophone); Ron Hockett (clarinet); Randy Reinhart (cornet); Dan Barrett , Russ Phillips (trombone); Jake Hanna (drums).

Swing is Still the King

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Various Artists - Cohen - The Scandinavian Report

Styles: Vocal, Pop/Rock
Year: 2009
File: MP3@320K/s
Time: 75:50
Size: 174,3 MB
Art: Front

(4:05)  1. Cookies 'n Beans - First We Take Manhattan
(3:48)  2. Rebecka Törnqvist - Here It Is
(4:31)  3. Moto Boy - If It Be Your Will
(4:46)  4. Jan Malmsjö - Dansa mig till kärlekens slut
(4:31)  5. Ane Brun - Ain't No Cure for Love
(5:31)  6. Bo Sundström - Everybody Knows
(4:10)  7. Sara Isaksson - Hey That's No Way to Say Goodbye
(3:39)  8. Lars Halapi - Sisters of Mercy
(7:06)  9. Mikael Wiehe - USA är redo för demokrati
(3:39) 10. Anders Widmark - Hallelujah
(5:05) 11. Eva Dahlgren - Bird on the Wire
(4:31) 12. Vidar Johansen & Peter Nordberg - In My Secret Life
(4:21) 13. Jenny Wilson - The Partisan
(3:43) 14. Olle Ljungström - Chelsea Hotel #2
(7:12) 15. Sophie Zelmani - Waiting for the Miracle to Come
(5:04) 16. Christel Alsos - Suzanne

On a distinctly grey day in January I got a call from AnR Lars ”Billy” Hansson. After about a minute of comparing the wheather in Stockholm and Skåne , and making sure our families were both well, he asked me: How about making a tribute album to Leonard Cohen? I´ve always been a big fan of Cohens´ music and had two months earlier seen one of the best concerts in my life Leonard Cohen in Göteborg. So, of course, my answer was yes. So, how do you make a tribute album? Well, off course you need to find the right artist for the right song. Next step is to make it sound like one album. How do you achieve that? I had been thinking about this and also trying to find new ways to get presence and vibrance in recordings and I had an idea: 

One place, one time and one band.No safety net. The different artists would come one after another and sing their song. Lars Hansson liked the idea and we started to discuss singers and songs, studios and engineers, and budgets... Eventually we agreed on a list of very fine Swedish and Norwegian artists and to our joy almost everyone were happy to come. Further more we settled for the 17-18 of August at Studio 4, Radiohuset, Stockholm. Lars and I continued to work on the planning and logistics and I contacted all the artists to discuss key, tempo,arrangement and vibe. The C-day finally came. The plan was to record 19 songs in two days. This takes a lot of concentration from a lot of people. Singers, musicians, engineers. It also takes a lot of luck: One late airplane, two hours of computer problems and one artist not happy with the microphone could jeopardise the whole album. I can honestly say I´ve never been so tired, or musically happy, as when we finished the last song 9.30 pm on the 18th. Everybody involved had done their utmost to make this album come alive and the artists all brought their musicality, their personal interpretation, their concentration. And all this with high spirits and lot´s of generousity. I´m deeply grateful. And very proud over this album. http://www.leonardcohenfiles.com/swedentrib.html

Cohen - The Scandinavian Report

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Jan Garbarek Quartet - Afric Pepperbird

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 41:19
Size: 96,0 MB
Art: Front

( 6:19)  1. Skarabee
( 1:56)  2. Mah-Jong
(12:27)  3. Beast of Kommodo
( 8:41)  4. Blow Away Zone
( 1:53)  5. MYB
( 0:53)  6. Concentus
( 7:58)  7. Afric Pepperbird
( 1:08)  8. Blupp

Long ago, before he achieved relative stardom with his Nordic, somewhat new-agey recreations of medieval music, Jan Garbarek produced a handful of spectacular, robust albums for ECM where the influence of free jazz, particularly Albert Ayler, was paramount. Afric Pepperbird was his first recording for the then fledgling label and it features his quartet at the height of their powers, embellishing his muscular and imaginative compositions with outstanding, individualistic playing. From the eerie keening of the opening "Scarabee," framed by Jon Christensen's pinpoint delicate drums, to the hard-driving "Beast of Kommodo" with the leaders wailing bass sax to Rypdal's manic explorations on Blow Away Zone, this is one stellar effort. 

Add to that three drop-dead gorgeous miniatures by the great and undersung bassist Arild Andersen and the title track, one of the most deliriously infectious melodies you'll ever hear. Together with Sart, Tryptikon, and Witchi-Tai-To (as well as a prior recording on Flying Dutchman), this album represents the strongest, most aggressive portion of Garbarek's career, before he succumbed to what became known as the ECM aesthetic. Very highly recommended. ~ Brian Olewnick  http://www.allmusic.com/album/afric-pepperbird-mw0000315243

Personnel: Jan Garbarek (flute, clarinet, tenor saxophone, bass saxophone, percussion); Terje Rypdal (guitar, bugle); Arild Andersen (xylophone); Jon Christensen (percussion).

Afric Pepperbird

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Snake Davis - Talking Bird

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 46:21
Size: 106,5 MB
Art: Front

(3:52)  1. Talking Bird
(4:21)  2. Refuge
(3:01)  3. Dragonfly
(4:54)  4. Fuji Sighting
(4:22)  5. Harlem Stroll
(5:43)  6. Dreaming On
(3:02)  7. Day of the Snake
(4:16)  8. Kikbak
(3:49)  9. Shiro Sunset
(4:12) 10. Cross The Line
(4:43) 11. Naima

Well, this might be pretty unoriginal and obvious, but, here goes. What do Chaka Khan, the late James Brown, The Eurythmics, the late Ray Charles, Smokey Robinson, Lisa Stansfield, Tina Turner, and Paul Hardcastle all have in common? That’s right, and you go to the head of the class. It’s an association with Snake Davis, one smooth, soulful and funky sax player with a lot of creativity and imagination. Oh, he’s been away from the scene for a bit, but he’s back with a vengeance here on Talking Bird. Not only proficient on sax and flute, he showcases his expertise on one of my favorite instruments to hear: the shakuhachi. A real treat for me. 

Talking Bird is a cornucopia of style, sound, mystique, funk and brilliance. There’s more than enough here for the most discriminating ear as well as the ear that welcomes a diversity of sound. It’s all here in a neat package of skill and appeal. From the smooth and funky opening track (also the title track) to the soulful utterings on "Refuge," to the exoticism of "Dragonfly," to the sultry, sexy, bluesy midnight ballad "Dreaming On" (umph, umph, umph, will be the response from the Euge Groove/Boney James fans, particularly the ladies), to the up-tempo Latin calor of "Day of the Snake" to all of the other movers and groovers on this well-conceived bit of artistry, Davis lays it all out for all to appreciate and appreciate you undoubtedly will! Davis, who's been hanging out mostly in the United Kingdom (he also did a three-month stint in Japan), is scheduled to embark upon an extensive 2008 tour. 

I certainly hope there will be some stops here in the U.S. That tour will be most incomplete if he doesn’t tap into the enthusiasm and appreciation he most certainly will receive here! Should he plan a few stops here, my advice to all who read this would be: Come one, come all. Let’s all do this because this is one artist and his material not to be missed. ~ Ronald Jackson  http://www.jazzreview.com/cd-reviews/smooth-jazz-cd-reviews/talking-bird-by-snake-davis.html

Personnel:  Snake Davis (saxes, flutes, shakuhachi),  Paul Birchall (keys),  Bryan Hargreaves (drums/percussion),  Neil Fairclough (bass),  Mark Creswell (guitar),  Dave Bowie (double bass),  Sam Hobbs (drums),  Gareth Moulton (guitar),  Veronika Novotna (violins)

Talking Bird     

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Chris Connor - He Loves Me, He Loves Me Not

Size: 104,8 MB
Time: 44:53
File: MP3 @ 320K/s
Released: 1956/2007
Styles: Jazz Vocals
Art: Front

01. High On A Windy Hill (3:47)
02. 'Round About (3:55)
03. Angel Eyes (3:43)
04. You Stepped Out Of A Dream (3:47)
05. Why Can't I (3:46)
06. Suddenly It's Spring (3:08)
07. About The Blues (3:44)
08. Oh! You Crazy Moon (3:40)
09. But Not For Me (3:47)
10. I Guess I'll Hang My Tears Out To Dry (3:27)
11. I Wonder What Became Of Me (4:10)
12. Thursday's Child (3:52)

Along with June Christy, Helen O'Connell, and Julie London, Chris Connor epitomized cool jazz singing in the 1950s. Influenced by Anita O'Day, the torchy, smoky singer wasn't one for aggression. Like Chet Baker on the trumpet or Paul Desmond and Lee Konitz on alto sax, she used subtlety and restraint to their maximum advantage. At the University of Missouri, Connor (who had studied clarinet at an early age) sang with a Stan Kentonish big band led by trombonist Bob Brookmeyer before leaving her native Kansas City for New York in 1947. Quite appropriately, she was featured in the lyrical pianist Claude Thornhill's orchestra in the early '50s. After leaving Thornhill, Connor was hired by Kenton at Christy's recommendation, and her ten-month association with him in 1952-1953 resulted in the hit "All About Ronnie." Connor debuted as a solo artist in 1953, recording three albums for Bethlehem before moving to Atlantic in 1955 and recording 12. Connor reached the height of her popularity in the 1950s, when she delivered her celebrated versions of Billy Strayhorn's "Lush Life" and George Shearing's "Lullaby of Broadway," and recorded such excellent albums as The Rich Sound of Chris Connor and Lullabies of Birdland for Bethlehem and Chris Craft and Ballads of the Sad Cafe for Atlantic. Connor made a poor career move in 1962, the year she left Atlantic and signed with a label her manager was starting, FM Records -- Connor had recorded only two albums for FM when they folded. Connor's recording career was rejuvenated in the 1970s, and she went on to record for Progressive, Stash, and Contemporary in the '70s and '80s. Connor maintained a devoted following in the 1990s and continued to tour internationally. ~by Alex Henderson

He Loves Me, He Loves Me Not

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John Hart - Exit From Brooklyn

Size: 135,6 MB
Time: 58:17
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Mainstream Jazz
Art: Front

01. Here's That Rainy Day (5:51)
02. Exit From Brooklyn (5:54)
03. The Star Crossed Lovers (5:01)
04. Inside Out (6:04)
05. April In Paris (8:03)
06. Just Friends (5:49)
07. I Mean It! (6:53)
08. Ask Me Now (4:51)
09. Jackie-Ing (4:13)
10. Where Or When (5:32)

In the winter of 1984 I first arrived in New York City. Fresh out of college, armed with a couple of guitars, I was unaware that I was about to begin a 30-year odyssey in which I would experience virtually every facet of the NY jazz scene. I soon landed in Brooklyn - Fort Greene to be exact. Brooklyn was a popular location for migrating young jazz musicians at that time, as it was difficult for many to negotiate Manhattan’s high rents. Neighborhoods such as Ft. Greene, Park Slope, and Brooklyn Heights were teaming with musicians, and the sound of jam sessions coming from inside apartment buildings was ubiquitous.
It was a different Brooklyn from the Brooklyn today. The term hipster was dormant and I would venture to say that there were very few Brooklynites who knew what a latte was. The one thing that hasn’t changed, however, is the vibrant and fertile jazz scene that has always resided there.

Brooklyn is where I first met Bill Moring and Tim Horner, the two remarkable musicians who join me on this disc. We met shortly after I moved to NY, all from different parts of the country, each with different backgrounds but all with the same goal, to play and learn. We ran into each other at some of those apartment jam sessions, found each other on various gigs together, and eventually formed a trio around 2000. This is our fourth CD together. In the late 90’s we all headed to the suburbs, raised our families, played a lot of gigs together and kept those jam sessions happening (all though this time in a house, not an apartment!)

My idea for this record was for us to convene with a minimum of rehearsal, play music that is rich in melody and explore and refine the chemistry that we have developed after all these years playing together.

Exit From Brooklyn

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Kevin Stewart - Never Look Back

Size: 140,3 MB
Time: 59:47
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Piano Jazz
Art: Front

01. Moonlight (5:06)
02. Full Steam (3:36)
03. Still Unforgettable (4:33)
04. Never Look Back (3:30)
05. Mom's Lake (3:18)
06. Overjoyed (4:27)
07. The Calm (3:22)
08. Distracted (5:00)
09. Lost Generation (6:00)
10. Never Can Say Goodbye (3:55)
11. Roof Garden (3:49)
12. Downtime (4:29)
13. Timeless Tale (4:12)
14. You Touch My Brain (4:22)

Any info will be welcome.

Never Look Back

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Ruby Braff and Dick Hyman - Play Nice Tunes

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 64:15
Size: 147,6 MB
Art: Front

(6:11)  1. I Want a Little Girl
(3:27)  2. My Heart Belongs to Daddy
(4:24)  3. Sweet Savannah Sue
(4:36)  4. Why Was I Born
(4:32)  5. Lotus Blossom
(4:29)  6. Joseph! Joseph!
(5:34)  7. Thanks a Million
(4:23)  8. By Myself
(6:09)  9. I Must Have That Man
(4:28) 10. Come Sunday
(3:12) 11. Save It, Pretty Mama
(4:00) 12. Once Upon a Time
(3:21) 13. You're Lucky to Me
(5:24) 14. When It's Sleepy Time Down South

All of cornetist Ruby Braff's duet collaborations with pianist Dick Hyman are something special. The success of this set was a bit unlikely because the great cornetist was very ill just a few months earlier. Luckily he recovered and does not show any weakness, hesitancy or diminishing abilities on his duet date. The emphasis is on slower renditions of superior standards, but there is also plenty of fire and subtle invention displayed during the thoughtful interpretations. Hyman is typically imaginative in his accompaniment and virtuosic solos, while Braff makes the most out of every note. Highlights include Fats Waller's "Sweet Savannah Sue," "Why Was I Born," "Thanks a Million" and "You're Lucky to Me." ~ Scott Yanow  http://www.allmusic.com/album/play-nice-tunes-mw0000026338

Personnel: Ruby Braff (trumpet, cornet); Dick Hyman (piano).

Play Nice Tunes

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Wolfgang Muthspiel - Drumfree

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 54:36
Size: 125,1 MB
Art: Front

(6:31)  1. Ibrahim
(5:05)  2. Tribal games
(6:51)  3. Sunspot
(7:11)  4. Double blues
(6:07)  5. This over that
(5:06)  6. Ralphone
(6:36)  7. The Palace (to Wena)
(5:48)  8. Looking for Elba
(5:16)  9. Raumzeit

Drumfree contains some of the most stimulating three-way counterpoint written and played in a long time. All of the compositional credit goes to Wolfgang Muthspiel, the composer; but making it all come alive is Muthspiel, the guitarist, and his chosen partners for this date: saxophonist Andy Scherrer and bassist Larry Grenadier. Muthspiel leads from the front with the warmth and splendor of his authoritative voice. The guitarist is deeply rooted in the harmonic ideas of European music, with phrases fully formed and informed by the contrapuntal ideas that spring from the tradition of Bach. Muthspiel is also a sublime melodist, taking leave from Mozart as much as he does some of his contemporaries spread across the landscape of modern music. He has certainly heard the ancestors of his chosen instrument, from Charlie Christian and Freddie Green to Wes Montgomery. But he has also listened carefully to pianists Bill Evans and the magical Abdullah Ibrahim.

Muthspiel's is a unique voice. Bright and singing, it sets the music aglow with bubbling melody and sophisticated harmony ensconced in an enormous palette of colors, which the guitarist applies with deft touch and exacting technique. He plays single notes with joyful clarity, triads and chords with a sense of purpose to bring about a sunburst of colors. His ability to make outstanding timbral pronouncements puts him in a league presided over by the sublime mastery of Ralph Towner. Here, too, Muthspiel holds his own, delivering on the promise held out for his ingenuity as well. His dialogs with that other master on this date, Grenadier, are a joy to hear, whether they are navigating a complex musical portrait in "Ibrahim," or swinging in and out of a minor blues, "Double Blues," where Muthspiel trades thirds with Grenadier, then dropping back to comp in the shadow of the bassist's deep grumbling solo. Then Muthspiel dives behind Scherrer's lush soloing, before playing a maddeningly brilliant harmonic figure to lead the trio into Grenadier's solo. In between it all there is music that reveals Muthspiel's mastery of various modes. 

This is a result of making music in Europe, where the musician is surrounded by craftsmanship and history that impels the artist into the Greco-Roman world of exactitude, as well as into the beautiful florid world of the baroque era, when Johann Sebastian Bach and Antonio Vivaldi held sway. Being surrounded by all things melodic and Mozart also must have counted for something. Muthspiel has absorbed all this as well as enough of the tradition of the blues to make music that is not only worldly in vision, but also contemporary in relevance. He demonstrates an unaffected style, letting it all emerge with just the right amount of intellect and emotion on "Ralphone," and the crowning moments of "Raumzeit," where Grenadier's arco playing is sublime. Despite Muthspiel's travels through time this remains a truly modern guitar album. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/drumfree-wolfgang-muthspiel-material-records-review-by-raul-dgama-rose.php
 

Personnel: Wolfgang Muthspiel: guitars; Andy Scherrer: saxophones; Larry Grenadier: bass.

Drumfree

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