John Pizzarelli & The George Shearing Quintet - The Rare Delight of You

Styles: Vocal And Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 56:47
Size: 130,5 MB
Art: Front

(3:50)  1. If Dreams Come True
(2:43)  2. The Lady's In Love With You
(3:46)  3. Everything Happens To Me
(2:56)  4. Lulu's Back In Town
(4:53)  5. Something To Remember You By
(3:54)  6. Lemon Twist
(4:11)  7. Lost April
(5:45)  8. Problem
(4:03)  9. The Rare Delight Of You
(3:33) 10. Shine On Your Shoes
(4:06) 11. Indian Summer
(2:39) 12. Be Careful It's My Heart
(4:01) 13. September In The Rain
(2:42) 14. I Predict (2001)
(3:38) 15. Lucky To Be Me

John Pizzarelli teams with the George Shearing Quintet to reveal their unique musical chemistry on The Rare Delight of You, a 15-track gem filled with the ambience of such great composers as Irving Berlin, Leonard Bernstein, Harry Warren, and the master himself, George Shearing. Pizzarelli, a master of the Great American Songbook, showcases his musical heirlooms buoyant, loving vocals and quality guitar skills alongside Shearing's authentic and full-spirited piano savvy with brilliant insight and freedom of expression without exceeding the boundaries of the original compositions. The results are tender, expressive, jazz renderings that resound with taste and class. The best-selling guitarist and his wife, Jessica Molaskey, co-wrote "I Predict" with Shearing and also co-wrote the title track, "The Rare Delight of You." The latter, a tender, love ballad with the potential to become a jazz standard, is a relaxing song that conjures a variety of loving moods. Among the more delightful and memorable songs are "September in the Rain" and "Be Careful It's My Heart." Pizzarelli delivers them with all their harmony and richness, quietly, softly in tune with the light and, at times, swinging piano accompaniment of Shearing. 

The group dynamic is also interesting since they've mastered an ever-changing body of arrangements. Great music attracts the best musicians and Shearing's Quintet: Dennis Mackrel on drums, Ted Piltzecker on vibraphone, Reg Schwager on guitar, and Neil Swainson on bass are among the attributes that make this CD a success. They immerse the listener in a variety of musical moods and set the tone on this one-of-a-kind musical terrain with a distinctive subdued passion. John Pizzarelli meets the same self-imposed standards he set on "Let There Be Love" and continues to deliver the goods with enthusiasm, earnest humility, and charm.~Paula Edelstein http://www.allmusic.com/album/the-rare-delight-of-you-mw0000212008

Personnel: John Pizzarelli (vocals, guitar); George Shearing (piano); Ted Piltzecker (vibraphone); Reg Schwager (guitar); Neil Swainson (bass); Dennis Mackrel (drums).

The Rare Delight of You

---

Rosemary Clooney with the Buddy Cole Trio - Swing Around Rosie

Styles: Vocal And Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 28:56
Size: 67,7 MB
Art: Front

(1:49)  1. 'Deed I Do
(2:24)  2. You Took Advantage of Me
(2:27)  3. Blue Moon
(2:16)  4. Sing You Sinners
(2:43)  5. A Touch of the Blues
(2:07)  6. Goody, Goody
(2:39)  7. To Close for Comfort
(2:49)  8. Do Nothin' Till You Hear From Me
(2:36)  9. Moonlight Mississipi (A Whistle Stop Town)
(2:23) 10. I Whish I Were in Love Again
(2:31) 11. Sunday in Savannah
(2:06) 12. This Can't Be Love

This is an odd release by Rosemary Clooney, who's accompanied by keyboardist Buddy Cole and an unidentified rhythm section. Although the singer is in great form, Cole's extremely corny arrangements and his very dated sound on both organ and piano (which are frequently overdubbed, often in unison) threaten to make the entire session more of a nostalgia trip than something that will appeal to jazz collectors. Still, Clooney's pure swinging vocals on standards such as "'Deed I Do," "Blue Moon," "Do Nothin' Till You Hear From Me," and "This Can't be Love" are very rewarding, in spite of Cole's uninspiring backgrounds.~Ken Dryden http://www.allmusic.com/album/swing-around-rosie-mw0000220001

Personnel:  Piano, Organ – Buddy Cole;  Vocals – Rosemary Clooney

Swing Around Rosie

---

Dizzy Gillespie - Cubana Be, Cubana Bop

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 56:53
Size: 132,7 MB
Art: Front

(3:03)  1. Manteca
(2:48)  2. Good Bait
(2:59)  3. Algo Bueno
(2:56)  4. Ow!
(3:12)  5. Oop-Pop-A-Da
(2:29)  6. Our Delight
(3:08)  7. St. Louis Blues
(3:02)  8. Dizzier And Dizzier
(2:29)  9. Jump Did-Le-Ba
(2:53) 10. One Bass Hit II
(2:23) 11. I'm Be Boppin' Too
(2:45) 12. Cool Breeze
(3:05) 13. Jumpin' With Symphony Sid
(2:22) 14. Ray's Idea
(2:45) 15. Things To Come
(2:36) 16. In The Land Of Oo-Bla-Dee
(2:51) 17. Ool-Ya-Koo
(3:12) 18. Guarachi Guaro
(5:48) 19. Cubana Be, Cubana Bop

John Birks "Dizzy" Gillespie, along with Charlie Parker, ushered in the era of Be-Bop in the American jazz tradition. He was born Cheraw, South Carolina, and was the youngest of nine children. He began playing piano at the age of four and received a music scholarship to the Laurinburg Institute in North Carolina. Most noted for his trademark "swollen cheeks", Gillespie admitted to copying the style of trumpeter Roy Eldridge early in his career. He replaced Eldridge in the 'Teddy Hill' Band after Eldridge's departure. He eventually began experimenting and creating his own style which would eventually come to the attention of Mario Bauza, the Godfather of Afro-Cuban jazz who was then a member of the Cap Calloway Orchestra, joining Calloway in 1939, Gillespie was fired after two years when he cut a portion of the Calloway's buttocks with a knife after Calloway accused him of throwing spitballs (the two men later became lifelong friends and often retold this story with great relish until both of their deaths). Although noted for his on and off-stage clowning, Gillespie endured as one of the founding fathers of the Afro-Cuban &/or Latin Hazz tradition. Influenced by Bauza, known as Gillespies musical father, he was able to fuse Afro-American jazz and Afro-Cuban rhythms to form a burgeoning CuBop sound. Always a musical ambassador, he toured Africa, the Middle East and Latin America under the sponsorship of the US State Department. Quite often he returned, not only with fresh musical ideas, but with musicians who would eventually go on the achieve world renown.

Among his proteges and collaborators are 'Chano Pozo'. the great Afro-Cuban percussionist; Danilo perez, a master pianist and composer originally from Pnama; Arturo Sandoval, trumpeter, composer and music educator originally from Cuba; Mongo Santamaria, an Afro-Cuban conguero, bongeuro and composer; David Sanchez, saxophonist and composer; Chucho Valdes, an Afro-Cuban virtuoso pianist and composer; and Bobby Sanabria, a Bronx, NY-born Nuyorican percussionist, composer, educator, bandleader and expert in the Afro-Cuban musical tradition. Indeed, many Latin jazz classics such as "Manteca", "A Night in Tunisia" and "Guachi Guaro [Soul Sauce]" were composed by Gillespie and his musical collaborators. With a strong sense of pride in his Afro-American heritage, he left a legacy of musical excellence that embraced and fused all musical forms, but particularly those forms with roots deep in Africa such as the music of Cuba, other Latin American countries and the Caribbean. Additionally, he left a legacy of goodwill and good humor that infused jazz musicians and fans throughout the world with the genuine sense of jazz's ability to transcend national and ethnic boundaries--for this reason, Gillespie was and is an international treasure.http://www.dizzygillespie.com/index.html

Cubana Be, Cubana Bop

---

Hank Marr - Bluesin' & Cruisin'

Size: 163,8 MB
Time: 70:38
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz/Soul/Blues, Hammond Organ
Art: Front

01. A Half-Step Thang ( 6:58)
02. Bluesin' & Cruisin' In Flat B ( 5:47)
03. Silver Lining ( 5:45)
04. Blues Thang ( 7:10)
05. A Swingin' Bossa Nova ( 6:15)
06. I'm Glad There Is You ( 7:27)
07. We B 3'in You (12:27)
08. Satin Doll ( 7:58)
09. You've Changed ( 4:41)
10. This Little Light Of Mine ( 6:05)

While he never gained a public profile to rival Jimmy Smith, Groove Holmes or Hank McDuff, Hank Marr was one of the most soulful and entertaining organists in jazz. Marr died on March 16, 2004, in his hometown of Columbus, Ohio. He was 77 years old.

Marr was born on January 30, 1927, in the Flytown section of Columbus. He learned the piano at his neighbor's house, trying to pick out chords he had heard on the radio. Once his parents bought a piano of their own he began jamming with friends like saxophonist Roland Kirk, who lived down the street (Kirk's nose-flute feature "Flytown Nose Blues" was an homage to their old neighborhood.)

After his military service, Marr played piano professionally around Tampa for a couple of years before returning home to study at Ohio State University. A gig with the Sammy Hopkins Trio was followed by work with Rusty Bryant. At that time the Hammond organ craze was just beginning, and hearing Wild Bill Davis play at Birdland sold Marr on the virtues of the electric keyboard.. The widespread airplay enjoyed by Jimmy Smith added fuel to the fire. Bryant and Marr worked for a time in Atlantic City, where the organist put together his first trio. Marr, Smith and Davis became friends while cycling their way through the city's organ clubs, and the younger man learned much from his idols.

In 1961 Marr was signed to King Records, which had just dropped "Honky Tonk" hitman Bill Doggett from their roster. King expected more Doggett than Smith from their new signee, and Marr experimented with his instrument's stops until he came up with his own, orchestra-like signature sounds. He debuted with Greasy Spoon, which brought him a fair amount of acclaim. He recorded sporadically throughout the 1960s and toured the nation regularly. Later in the decade he became musical director for television performer George Kirby, and a string of TV appearances increased Marr's album sales and gigs.

In 1983 Marr began teaching music at his alma mater, Ohio State, becoming an associate professor of jazz studies. August 12, 1990, marked the official Marvelous Hank Marr Day as the city of Columbus honored one of its favorite sons. He also received a Continuing Legacy Award at the Columbus Music Awards. The 1990s brought an association with jazz education guru Jamey Aebersold, who had Marr record a Hammond organ play-along record. Aebersold also issued several of Marr's albums on his Double-Time imprint, including the fine Groovin' It! (1996). ~by Todd S. Jenkins

Bluesin' & Cruisin'

---

Beegie Adair & Monica Ramey - Some Enchanted Evening

Size: 110,4 MB
Time: 47:09
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Cabaret
Art: Front

01. If I Were A Bell (From Guys & Dolls) (3:24)
02. They Say It's Wonderful (From Annie Get Your Gun) (3:37)
03. I've Grown Accustomed To His Face (From My Fair Lady) (3:25)
04. Always True To You In My Fashion (From Kiss Me, Kate) (3:27)
05. My Funny Valentine (From Babes In Arms) (5:00)
06. C'est Magnifique (From Can-Can) (3:40)
07. If I Loved You (From Carousel) (3:59)
08. 's Wonderful (From Funny Face) (3:45)
09. I Have Dreamed (From The King & I) (4:34)
10. People Will Say We're In Love (From Oklahoma) (3:19)
11. Some Enchanted Evening (From South Pacific) (4:25)
12. Someone To Watch Over Me (From Oh, Kay!) (4:27)

Beegie Adair grew up in Cave City, Kentucky, where she began taking piano lessons at age five. She continued to study piano throughout college, earning a B.S. in Music Education at Western Kentucky University in Bowling Green. During and after college, she played in jazz bands, and spent three years teaching music to children before moving to Nashville, where she became a session musician, working at WSM-TV and on The Johnny Cash Show (1969-71). She and her husband also started a jingle company to write music for commercials. In 1982, she and saxophonist Denis Solee formed the Adair-Solee Quartet, which evolved into the Be-Bop Co-Op, a jazz sextet. She made her first album under her own name, Escape to New York, with a rhythm section consisting of Bob Cranshaw and Gregory Hutchinson. But her subsequent albums, The Frank Sinatra Collection, The Nat King Cole Collection, and Jazz Piano Christmas, were made with bassist Roger Spencer and drummer Chris Brown. ~ William Ruhlmann

Some Enchanted Evening

---

Uros Peric & Dusko Goykovich - All Of Me

Size: 103,5 MB
Time: 44:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, Vocals
Art: Front

01. The Good Life (3:23)
02. It Had To Be You (3:40)
03. Rosetta (3:38)
04. Summertime (7:24)
05. Ol' Man Time (2:32)
06. Don't Cry Baby (3:57)
07. When I Saw You (2:40)
08. All Of Me (3:09)
09. Nancy (4:57)
10. A Man Ain't A Man (3:00)
11. Cry Me A River (3:10)
12. Without You I've Got Nothing But Misery (2:51)

Uros had known about Dusko Goykovich years before he started his own musical career. He loves that bluesy, souly sounds of Dusko very much. They first met personally in 2006 when Dusko held a concert with the domestic band at the Royal Garden Jazz Club in Graz, Austria. The chemistry between these two men, although almost of 50 years difference, was perfect and they set up the programme for the All of Me CD.

For Uros it was a great challenge and excitement to work with the man who shared the stage with musicians like Miles Davis, Dizzy Gillespie, Woody Herman, Scott Hamilton and many, many other musical celebrities. Uros suggested the songs to appear on the CD and Dusko added two tunes of his choice: Summertime, arranged by himself, and When I Saw You (music by D. Goykovich. lyrics by J. Evans).

Dusko has never before recorded Summertime with any singer. This album thus consists mainly of jazz standard, and one song comes from Uros' feather, Without You I've Got Nothing But Misery.

All Of Me

---

Martin Lechner - Somethin' Old & Somethin' New, Somethin' Else!

Size: 150,4 MB
Time: 64:41
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Lullaby Of Birdland (3:55)
02. Valerie (2:58)
03. The Masquerade Is Over (6:21)
04. Ready Or Not (3:49)
05. My Funny Valentine (4:27)
06. I Don't Know (3:26)
07. Kiss (4:40)
08. Why Did You Do It (4:15)
09. Caravan (4:58)
10. My Baby Just Cares For Me (4:22)
11. God Bless The Child (4:56)
12. I Feel For You (3:43)
13. There Is No Greater Love (4:55)
14. The Way You Make Me Feel (4:07)
15. The Shadow Of Your Smile (3:42)

Martin Lechner is literally a natural talent. Without ever having completed a single singing lesson, it interprets jazz - classic with its characterful voice and so gives the songs a compelling originality. His friendly appearance, the warm timbre of his voice, the excellent sense of rhythm and his sovereign phrasing make Martin Lechner is a rare event. And he has started a few years ago for his own pleasure in singing. Following "open mic" - appearances in 2006 Martin Lechner founded his own band with Swiss musicians. Meanwhile, a project was set up, which has reached a poor in a short time very much. After his successful debut album "Gentlemen Are Hard To Find" now follows his second litter "Somethin 'Old & Somethin' New - Somethin 'Else".
On this album Martin Lechner applies the same musical formula, songs in the style of the 50's to arrange and topical issues. The affinity for the Jazz this era is kept very high and combined with elements of modernity, so that something new arises from tradition. Sometimes, these are pieces of Amy Winehouse, Prince, Michael Jackson etc which are equally convincing as the solo contributions of each musician.

Martin Lechner has internalized what he sings. He considers his voice as an instrument with which he expresses sensitively and authentically, depending on the mood, a song. "I'm a gut-singer with a penchant for romance".

With this understanding, it is also approached together with his bandmates to the production of the current CD.
The album was produced in collaboration with Peter Bürli and DRS2. ~Google translation

Somethin' Old & Somethin' New, Somethin' Else!

---

Gabrielle Chiararo - Night And Day: Live Cocktail And Coffee Bar Music Selection

Size: 199,7 MB
Time: 85:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals, Bossa Nova, Smooth Jazz
Art: Front

01. Night And Day (3:17)
02. Tears In Heaven (4:35)
03. Ain't No Sunshine (3:51)
04. All Of Me (3:11)
05. Fly Me To The Moon (2:25)
06. Calling You (4:55)
07. Cheek To Cheek (2:46)
08. Pensiero Stupendo (4:19)
09. Corcovado (5:24)
10. Don't Know Why (3:02)
11. Fragile (3:01)
12. Estate (3:34)
13. It's Probably Me (4:06)
14. Feuilles Mortes (3:33)
15. L-O-V-E (2:23)
16. La Mer (3:52)
17. A Me Me Piace 'O Blues (3:21)
18. Parole Parole (4:02)
19. Roxanne (4:22)
20. Smooth Operator (4:59)
21. So Nice (2:42)
22. Stormy Weather (4:26)
23. Walk On By (2:48)

Gabrielle Chiararo is one of Italian producer Giacomo Bondi's most successful discoveries. They met when he was looking for a backing vocalist who could sing in Portuguese on Brazilian Jim Porto's 2005 release, "Diga". Their collaboration has been constant ever since. He soon composed and produced JAZZ SCHEMA, her first solo album of Nu-Jazz/Lounge music.
Together with a group of important Brazilian artists and the composer, Roberto Picerni, they put this album together, entirely recorded in Italy at his Rome studios. Even before finishing her album in January 2006, two of her songs "Tango Matto" and "Amore Mio" were selected respectively for the compilations by sunsweptmusic "Neo Tango" and "Amore Mio. Her songs have now been included on over 35 compilations worldwide. Bondi and Chiararo have recently completed her second album “Sensual Elegance”, comprised of ten original tracks and five covers in English, French and Italian.

Born in Paris, Gabrielle is half-French, half-Italian-American and was raised in France and America. Her love of singing began early, listening to such artists as Aznavour, Cocciante, Julien Clerc, Peter, Paul and Mary, the Beach Boys, Jackie Wilson and the Beatles. At school, she participated in plays, musicals, talent shows and choirs until she reached university where she began to take voice lessons, studying operatic arias. She continued with the choir and joined Henry's VIII, an acappella group with whom she recorded her first album. During her college years, she also formed a jazz ensemble called the Jazz Cats in which she was the soloist. Her studies brought her from New York to Florence, where she pursued her love of the Italian language and its cinema. She then attended drama school in London, where she continued with her singing lessons and branched out to musicals and jazz technique. Her musical interests range from traditional Chanson Francaise, 1940s jazz standards, tango, Doo Wop, Bossa nova, 60s rock n roll, 80s new wave, to modern music. She has also recorded an album “Acoustic Voice and Guitar” with her guitarist, Marco Minnucci, under the duo’s name “Flor de Lis” available from believemusic.com. Their music ranges from bossa nova, South American songs in Spanish and Portuguese, easy listening favorites to original songs which Minnucci composes and to which she writes the lyrics. She has also recently formed a jazz trio under the name “The Jazzmins” which performs jazz standards. Gabrielle has worked as a professional actress and singer in the U.S., England and Italy and is now part of the English and French language voice over community in Rome and continues to act be it on stage or before the cameras. Don't be surprised if one day you spot Gabrielle on the metro in Rome singing along to a song by Caetano Veloso, Blossom Dearie, Sam Cooke, or the E42, or even writing the lyrics to her next song, be it pop, lounge, jazz or bossa.

Night And Day

---

Sonny Clark - Sonny's Crib

Bitrate: MP3@320K/s

Time: 69:32

Size: 159.2 MB

Styles: Hard bop, Piano jazz

Year: 1959/1998

Art: Front

[ 7:51] 1. With A Song In My Heart

[ 6:46] 2. Speak Low

[ 7:25] 3. Come Rain Or Come Shine

[13:27] 4. Sonny's Crib

[ 8:30] 5. News For Lulu

[ 8:43] 6. With A Song In My Heart

[ 6:53] 7. Speak Low

[ 9:53] 8. Sonny's Crib

Recorded in 1957, Sonny's Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin' session, nonetheless the set produced some awesome readings of classic tunes, like the opener, "With a Song in My Heart," with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd's that is stunning in its complexity -- though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill's "Speak Low" and "News for Lulu," the latter of which has been adopted by John Zorn as his theme. On the former, Clark's rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane's solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller's next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin' Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark's colors -- which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny's Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late '50s, and one that drew deft, imaginative performances from all its players. ~Thom Jurek

Sonny's Crib

---

The Puppini Sisters - The High Life

Bitrate: MP3@320K/s

Time: 43:48

Size: 100.3 MB

Styles: Vocal, Swing

Year: 2016

Art: Front

[3:45] 1. Is This The High Life

[3:07] 2. Accentuate The Positive

[2:29] 3. It Ain't What You Do

[3:18] 4. Girls Just Wanna Have Fun

[3:13] 5. We Love To Bebop

[3:37] 6. Changes

[2:37] 7. Rapper's Delight-Chandelier Mash Up

[2:25] 8. Tico Tico

[2:51] 9. Work It

[2:56] 10. Tennessee Waltz

[3:56] 11. Material Girls Medley

[3:11] 12. Supercalifragilisticexpialidocious

[3:15] 13. Liar Liar

[3:04] 14. Hit The Road Jack

The Puppini Sisters' fifth studio album, The High Life, is the trio's first with Emma Smith joining original members Marcella Puppini and Kate Mullins. Aside from new membership, the vocal group stays the course, offering more of their close-knit, three-part harmonies on versions of big-band classics, a couple of original songs, and swing era-inspired rearrangements of more contemporary hits. The trio holds a few surprises in its selections of the latter, such as a medley of the Sugarhill Gang's "Rapper's Delight" and Sia's "Chandelier," and a fluid cover of Missy Elliott's "Work It." Their take on "Rapper's Delight" works especially well, riding the original's natural swing. The bass-driven medley eases back and forth between the rap classic and 2014's "Chandelier" with scatting and melodic percussion, and proves to be a highlight of The High Life. Not as much fun is their David Bowie cover, a piano-led, rim-clicking arrangement of "Changes" that comes off more like an exercise than a reinvention. They're back in form on "Material Girls Medley," though, which includes pieces of several female-led, money-themed songs, including Meghan Trainor's "Dear Future Husband" and Rihanna's "Bitch Better Have My Money." All of the above are worked into the set list alongside expectedly capable versions '30s and '40s classics, such as Arlen-Mercer's "Ac-Cent-Tchu-Ate the Positive," and the even earlier Brazilian work with many versions including a film appearance by Carmen Miranda, "Tico Tico" (aka "Tico-Tico No Fubá"). Ultimately, as on past albums, the Puppini Sisters thrive on the original tunes, which were written with their distinct delivery in mind. "Is This the High Life" employs a clarinet, piano, bass, and drum combo to support a rhythmic melody that slides between solo vocals and full three-part harmony, and for a taste of the women at their most Andrews Sisters, don't miss "We Love to Bebop." ~Marcy Donelson

The High Life 

---

Timi Yuro - The Best Of Timi Yuro

Bitrate: MP3@320K/s
Time: 67:59
Size: 155.7 MB
Styles: Pop/R&B
Year: 1992
Art: Front

[2:25] 1. Hurt
[2:52] 2. I Apologize
[2:29] 3. For You
[2:42] 4. Smile
[2:41] 5. She Really Loves You
[2:03] 6. You Belong To My Heart
[2:38] 7. Let Me Call You Sweetheart
[2:43] 8. Count Everything
[2:45] 9. I Know (I Love You)
[2:47] 10. All My Love Belongs To You
[2:42] 11. What's A Matter Baby (Is It Hurting You)
[2:27] 12. Thirteenth Hour
[3:33] 13. Only Love Me
[2:22] 14. That's Right, Walk On By
[2:26] 15. The Love Of A Boy
[2:27] 16. I Ain't Gonna Cry No More
[2:17] 17. Insult To Injury
[2:30] 18. If I Never Get To Love You
[2:35] 19. Make The World Go Away
[2:26] 20. Look Down
[2:20] 21. She's Got You
[2:34] 22. Are You Sure
[2:47] 23. Call Me
[5:02] 24. I'm Movin' On, Pts. 1-2
[3:12] 25. Something Bad On My Mind

The Best of Timi Yuro is a 25-track compilation of her Liberty work, all but one song dating from her commercial and artistic peak in 1961-1964. It includes all of her chart singles and some of her more memorable LP tracks, as well as an informative history by Dawn Eden. This is a jumpy document of an impressive talent whose material was not always up to her skills, with early-'60s orchestral arrangements ranging from effective to dated. ~Richie Unterberger

The Best Of Timi Yuro

---

Various - Swing & Jazz Collection Vol. 1

Bitrate: MP3@320K/s
Time: 52:44
Size: 120.7 MB
Styles: Guitar jazz, Swing
Year: 2012
Art: Front

[3:29] 1. The George Barnes Quartet - Sweet Georgia Brown
[7:52] 2. Jerry Garcia - Milestones
[3:42] 3. Matt Eakle - Gran's Blues
[2:43] 4. Hal Blaine - Jazz Bop
[3:50] 5. Don Stiernberg - Moonlight In Vermont
[3:59] 6. Martin Taylor - I'm Beginning To See The Light
[2:43] 7. Svend Asmussen - My Blue Heaven
[4:36] 8. Tiny Moore - Back To Back
[2:46] 9. Frank Vignola - Limehouse Blues
[6:23] 10. David Grisman Quintet - Jazzin' With Jazzbeaux
[2:55] 11. Oscar Alemán - Russian Lullaby
[7:40] 12. Stephane Grappelli - Exploration

This first collection of swing & jazz performances from the archives of Acoustic Disc and Acoustic Oasis offers a broad sampling of improvisational styles and the musicians that created them, from Oscar Aleman's classic rendition of "Russian Lullaby" (which inspired Jerry Garcia) to Garcia's own take on Miles Davis' "Milestones."

Other highlights include historic cuts by string-jazz masters Svend Asmussen, Jethro Burns and Tiny Moore and some truly unique tracks - "Exploration I" by violin legend Stephane Grappelli, showcasing his rarely-heard piano mastery and a special guest appearance by the legendary Al "Jazzbo" Collins rapping along with the David Grisman Quintet. If you like swing and jazz, treat yourself to this amazing collection.

Swing & Jazz Collection Vol. 1

---

Benny Green - Kaleidoscope

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 57:15
Size: 133,8 MB
Art: Front

(8:45)  1. Kaleidoscope (take 1)
(6:56)  2. Thursday's Lullaby
(5:30)  3. The Sexy Mexy
(5:43)  4. Patience
(5:15)  5. Central Park South
(6:09)  6. My Girl Bill
(6:45)  7. Apricot
(4:18)  8. You're My Melody
(7:50)  9. Kaleidoscope (take 2)

One must suppose the folks at Blue Note strive to uphold a certain tradition. Kaleidoscope seems to fit the bill; yet, like Benny Green's other Blue Note releases, it's all rather too derivative. The pianist clearly fares better as an accompanist (Ray Brown, Freddie Hubbard and many singers) where his sensitivity to style is an asset. Here, as always, the musicianship is professional and features a first-rate cast including Antonio Hart (alto sax), Russell Malone (guitar), Ron Carter (bass) Lewis Nash (drums) and (briefly) Stanley Turrentine on tenor sax. But in the long run, it all seems locked into too many memories of Blue Note glories from the past to be worthwhile on its own merits. The intricate (and, after a while, annoying) "Kaleidoscope" is sort of reminiscent of much of Andrew Hill's Blue Note work from the mid 60s. For some reason, this exercise-like tune gets two extended playings one to get it all started and one to wrap it all up. 

The pretty "Soft Center" starts off mixing McCoy Tyner with The Prisoner -era Herbie Hancock, but as Green gets more interesting, he injects a few touches that will remind many of Gene Harris. "The Sexy Mexy," surprisingly the third track on the disc, has the funk feel of many Blue Note hits like Kenny Dorham's "Una Mas" and some of Lee Morgan's post "Sidewinder" album headers. Things start making sense on the piano/bass duet, "Patience," and the piano/bass/guitar of "My Girl Bill." Here one is reminded of the empathy shared between Bill Evans and Eddie Gomez. But one senses Ron Carter is the driving energy of creativity and unity in this group - and the poetically fluid guitarist Russell Malone adds much to the group's overall `kaleidoscope.' Together, Carter and Malone give this Green's conceptions an interesting twist to the legacies of Nat King Cole and Oscar Peterson. Stanley Turrentine has a pretty sax/piano feature on "You're My Melody," but it would have been nice to hear the tenor player as part of the full sextet. In the end, this encapsulates the problem with this disc. It feels as if it's filled more with a few good ideas than one memorable performance.~Douglas Payne http://www.allaboutjazz.com/kaleidoscope-benny-green-blue-note-records-review-by-douglas-payne.php?width=1920

Personnel:  Benny Green – piano;  Ron Carter - bass (except #8);  Lewis Nash - drums (except #4, 6, 8);  Stanley Turrentine - tenor saxophone (on #5, 8);  Antonio Hart - alto saxophone (on #1, 2, 7, 9);  Russell Malone - guitar (except #4, 8)

Kaleidoscope

---

Gene Ammons - Legends Of Acid Jazz

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 74:54
Size: 172,1 MB
Art: Front

(5:36)  1. The Black Cat
(4:31)  2. Long Long Time
(7:49)  3. Piece To Keep Away Evil Spirits
(8:10)  4. Jug Eyes
(3:20)  5. Something
(5:09)  6. Hi Ruth!
(6:05)  7. You Talk That Talk
(4:21)  8. Body And Soul
(7:01)  9. The People's Choice
(6:49) 10. Katea's Dance
(4:43) 11. The Sun Died
(5:03) 12. Out Of It
(3:11) 13. I Can't Stop Loving You
(2:59) 14. My Babe

As is often the case in this CD reissue series, the music has little to do with acid jazz, but it does feature a few organists. Tenor saxophonist Gene Ammons is heard on music that formerly comprised two complete LPs from 1970-1971 (The Black Cat and As You Talk That Talk), plus a pair of titles from a 1962 date only previously out on a sampler. The Black Cat is an interesting if erratic set that finds Ammons (along with guitarist George Freeman, Harold Mabern on electric piano, bassist Ron Carter, and drummer Idris Muhammad) playing everything from the pop tune "Long Long Time" and George Harrison's "Something" (both of those tunes have unimaginative strings) to "Jug Eyes" and the boppish blues "Hi Ruth." As You Talk That Talk is a reunion with fellow tenor Sonny Stitt (they are joined by Freeman, Muhammad, and organist Leon Spencer), but it has a major problem. Stitt uses the electrified Varitone saxophone throughout the date, and his horn sounds even stranger than on his other Varitone dates, like a cross between an electric guitar and a dated keyboard; very eerie and odd. Ammons plays well enough (including on two throwaway numbers from 1962 with organist Don Patterson, guitarist Paul Weeden, and drummer Billy James), but overall, the music on this CD is dated and very much of the period. There are many more rewarding Gene Ammons reissues currently available.~Scott Yanow http://www.allmusic.com/album/legends-of-acid-jazz-gene-ammons-mw0000025728

Personnel: Gene Ammons (tenor saxophone); Bill Fischer (conductor); Sonny Stitt (tenor saxophone); Harold Mabern (acoustic & electric pianos); Leon Spencer, Dan Patterson (organ); George Freeman, Paul Weeden (guitar); Ron Carter (bass); Idris Muhammad, Billy James (drums).

Legends Of Acid Jazz

---

Bill Charlap - Notes From New York

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 54:05
Size: 124,5 MB
Art: Front

(4:55)  1. I'll Remember April
(7:05)  2. Make Me Rainbows
(5:59)  3. Not a Care in the World
(6:08)  4. There Is No Music
(4:52)  5. A Sleepin' Bee
(5:07)  6. Little Rascal on a Rock
(8:54)  7. Too Late Now
(5:59)  8. Tiny's Tempo
(5:03)  9. On the Sunny Side of the Street

Bill Charlap is one of the strongest mainstream jazz pianists on the scene and one of the most gifted interpreters of standards. He grew up in a musical household, as the son of Broadway songwriter Moose Charlap and singer Sandy Stewart. Taking to the piano at a young age, he went on to study at New York's High School of Performing Arts. He then entered college, but rather than finishing, opted to practice and gig on his own. Pianist Bill Mays soon took up Charlap's cause, recommending the young man as his replacement in the Gerry Mulligan Quartet. During this time, Charlap also worked with Benny Carter, Clark Terry, and Frank Wess, and was sought after as an accompanist for singers such as Tony Bennett, Carol Sloane, and Sheila Jordan. In 1995, he secured one of the most coveted piano chairs in jazz, with the Phil Woods Quintet.

All the while, Charlap showed steady development as a leader. His debut came in 1994 with Along with Me, followed by Souvenir in 1995 and Distant Star in 1996. His 1997 release, All Through the Night, was the first to feature his current trio, with the redoubtable (and unrelated) Washingtons, Peter and Kenny, on bass and drums respectively. In 2000, this lineup had its major-label breakthrough with the highly acclaimed Blue Note disc Written in the Stars. Two albums appeared in 2001: 2Gether with Warren Vaché and Contrasts with Jon Gordon. 'S Wonderful hit the shelves in 2002, as did Stardust, which began a series of albums that focused on a single composer. Stardust featured the music of Hoagy Carmichael, 2004's Somewhere was an all-Leonard Bernstein affair, while 2005's Plays George Gershwin featured ten songs by the man Charlap considers "the American soul." Also in 2005, he released an album with vocalist Sandy Stewart, Love Is Here to Stay. The concert album Live at the Village Vanguard appeared in 2007. In 2010, Charlap joined pianist Rene Rosnes for the duo effort, Double Portrait. Two years later, he reunited with Stewart for Something to Remember. In 2015 he collaborated with legendary vocalist Tony Bennett for Silver Lining: The Songs of Jerome Kern.~David R. Adler, Rovi https://itunes.apple.com/gb/artist/bill-charlap-trio/id6744112#fullText

Personnel: Bill Charlap (Piano);  Peter Washington (Bass);  Kenny Washington (Drums)

Notes From New York

---

Engelbert Wrobel, Chris Hopkins, Dan Barrett - Harlem 2000 (Complete Session)

Size: 180,7 MB
Time: 77:43
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz: Mainstream Jazz
Art: Front

01. Beyond The Blue Horizon (3:43)
02. Four Or Five Times (7:38)
03. Dreamy Mood (3:58)
04. It's Been So Long (4:13)
05. Solid Old Man (4:41)
06. Angel's Idea (4:16)
07. Echoes Of Harlem (4:22)
08. Haven't Named It Yet (4:16)
09. Drop Me Off In Harlem (6:19)
10. Body And Soul (3:20)
11. Harlem Sundown (5:28)
12. I May Be Wrong (4:17)
13. B-Flat Swing (5:03)
14. Synthetic Love (6:15)
15. A Lull At Dawn (3:35)
16. Till Tom Special (Bonus Track) (6:10)

Leader Dan Barrett’s name was the only one familiar to me on this new Nagel-Heyer release (although I seem to have heard the name John Smith before). Not to worry; Barrett’s companions are as bright-eyed and wholly in tune with the nuances of his mainstream point of view as anyone could want. Apart from three songs with “Harlem” in the title there doesn’t seem to be much connection to that particular area of New York City, but the album needed a name and I suppose Harlem 2000 is as good as any. The music is certainly akin to what one might have experienced during a visit to Harlem (or many other populous area of the country) during the glory years of the Swing Era — and can still enjoy in a more contemporary setting thanks to labels such as Nagel-Heyer, Arbors and a handful of others. Barrett, who’s among the best at what he does (which in this case includes playing fabulous trombone and cornet and adding a first-rate vocal on Benny Carter’s “Synthetic Love”), can’t afford to look over his shoulder when soloing, as everyone else is no more than half a step behind and rapidly closing ground. Pianist Chris Hopkins, who wrote the liner notes, downplays his own role, which is nonetheless essential, from supervising the group’s splendid rhythm section to soloing with awareness and intelligence and contributing a handsome original composition, “Dreamy Mood.” John Smith (there’s that name again) is showcased on soprano sax on “It’s Been So Long” (in a trio setting with Hopkins and drummer Oliver Mewes), clarinetist Engelbert Wrobel on Barney Bigard’s “A Lull at Dawn,” Hopkins (with Wrobel and Mewes) on “Body and Soul,” Mewes on Lionel Hampton / Charlie Christian’s “Haven’t Named It Yet.” Wrobel also plays tenor sax (think Harry Allen) on “Solid Old Man,” “Drop Me Off in Harlem” and Barrett’s “Harlem Sundown,” Smith alto sax on “Four or Five Times,” “Angel’s Idea,” “I May Be Wrong” and Teddy Wilson’s “B-Flat Swing.” As for Barrett, he stays busy with enterprising cornet solos on seven numbers, trombone on five others including a muted / open master class on Ellington’s “Echoes of Harlem.” Bassist Christian Ramond adds nimble statements on “Haven’t Named It” and “Drop Me Off,” while Mewes takes a Krupa-like chorus on the jaunty opener, “Beyond the Blue Horizon” (a great but seldom-heard tune written in the ’30s by singer Margaret Whiting’s father, Richard Whiting) and Hopkins comps and solos superbly on every number. This realm of Jazz isn’t called “swing” without cause, and Barrett’s sextet swings freely and often throughout this sparkling and invariably persuasive session. ~by Jack Bowers

Personnel: Dan Barrett, cornet, trombone, vocals; Engelbert Wrobel, clarinet, tenor sax; John Smith, alto, soprano sax, vocals; Chris Hopkins, piano; Christian Ramond, bass; Oliver Mewes, drums.

Harlem 2000

---

Dena DeRose - United

Size: 117,5 MB
Time: 50:42
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. United (6:28)
02. Only The Lonely (5:42)
03. Clockwise (7:27)
04. So Far Away (6:11)
05. I'm Glad There Is You (4:56)
06. Simple Song Of Love (6:16)
07. Peace (5:59)
08. Sunny (5:04)
09. Not You Again (2:35)

Two years after her beautiful Shirley Horn tribute album, singer/pianist/teacher Dena DeRose releases “United”, a 9-song selection that teams her up again with longtime partners Martin Wind on bass and Matt Wilson on drums plus a couple of special guests. One of those is trumpeter Ingrid Jensen who blossoms on the opening title track, a Wayne Shorter composition that was recorded by Art Blakey & the Jazz Messengers back in 1961. Dena wrote new lyrics to the song, universal and uplifting: “Stand up for all that you believe/Trust in the dreams that you conceive”.

Her swinging, delightful piano work is brimming with expertise and panache throughout the album. And she doesn’t choose the obvious standards for her newest endeavor: the Sammy Cahn/Jimmy van Heusen classic “Only The Lonely”, probably best noted for Frank Sinatra’s version, is done in an elegant, subdued and intimate fashion where Dena flawlessly and compellingly tells the story, accompanied by guitarist Peter Bernstein in a slight samba groove.

She also wrote the lyrics to a Cedar Walton composition. “Clockwise”, recorded by Bobby Hutcherson for his 1979 LP “Conception: The Gift Of Love” and two years later recorded by Walton himself on his “Piano Solos” album, also includes a Dena mantra: “Finding your own way in life is how to be!”. The trio comes up with a lot of impressive and energetic ideas which only a group can deliver that has stayed together for such a long time. You can find Martin and Matt as far back as on Dena’s 2005 MaxJazz album “A Walk In The Park” and they have played together ever since.

Carole King‘s “So Far Away”, one of my favorites from her classic “Tapestry” album from 1971 (which also included “I Feel The Earth Move”, “It’s Too Late”, “Will You Love Me Tomorrow?”, “(You Make Me Feel Like) A Natural Woman”, and “You’ve Got A Friend”), is treated with a haunting vocal production and simply is a blissful entry. It’s back to swinging ground for “I’m Glad There Is You” and here again, one of Dena’s specialties is shown: it’s as if she’s talking to you, unconstrained and buoyant.

Bassist Martin Wind‘s composition “Simple Song Of Love” is just that. A beautiful, almost naive, but never trite melody that has Dena’s lyrics underscoring the simplicity. I also enjoyed his sensuous bass solo, warm and at peace with the world. And we get some more treats: Horace Silver‘s “Peace” features Ingrid Jensen again on trumpet. The track meanders lovingly and meditatively along for about four minutes before it turns into a carnevalesque conclusion with intrinsic, repetitive lines with Dena pleading “Peace For Everyone”. A great arrangement.

The album finishes up with the Bobby Hebb standard “Sunny” which has Peter Bernstein again on soulful guitar, and an obscure little peace by UK composer Duncan Lamont. “Not You Again” would have been perfect for Shirley Horn’s repertoire and easily, gracefully fits into Dena’s as well (the song has been recorded by Cleo Laine and George Shearing in 1994). ~Gina Jazz

United

---

Freddy Cole - He Was The King

Size: 121,5 MB
Time: 52:13
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Easy To Remember (6:01)
02. Exactly Like You (4:30)
03. Funny (Not Much) (6:05)
04. That's My Girl (3:06)
05. Maybe It's Because I Love You Too Much (5:24)
06. The Best Man (3:13)
07. Sweet Lorraine (4:33)
08. Love Is The Thing (5:20)
09. Jet (4:08)
10. Mona Lisa (2:29)
11. It's Only A Paper Moon (4:03)
12. He Was The King (3:16)

Freddy Cole has finally recorded his own tribute to his famous older brother Nat "King"Cole and it's a lovely, heartfelt one at that. Freddy's warm voice and masterful presentation of the material here is a pure delight throughout.

The program features a wide ranging set of tunes from Nat King Cole's career ranging from "It's Only A Paper Moon", a number in Cole's repertoire in his early days, to "Mona Lisa" which was a huge hit for him when he had made the transition to popular balladeer. Other highlights include "Easy To Remember", "Sweet Lorraine" , the Latin tinged "Jet" and the title track "He Was The King" which Freddy composed especially for this project.

Freddy Cole has many of the same musicians on this recording that he has worked with in recent years. John Di Martino on piano, Randy Napoleon on guitar, bassist Elias Bailey and drummer Quentin Baxter. And some special guests show up on several tracks to add their instrumental artistry to the mix as well. Houston Person and Harry Allen on tenor saxophones, Joe Magnarelli on trumpet and Josh Brown on trombone.

Freddy Cole spent a number of years early in his career in the shadow of his more famous brother, but through the decades he carved out his own place in the jazz world and is a highly respected vocalist and performer in the jazz community. Since the 1990's he has issued a new album nearly every year which is quite an accomplishment. "He Was The King" honoring the legacy of Nat Cole is another fine addition to Freddy Cole's catalogue.

He Was The King

---

John Arman Organ Trio - John Arman Organ Trio

Size: 169,1 MB
Time: 73:19
File: MP3 @ 320K/s
Released: 2016
Styles: Contemporary Jazz, Hammond Organ
Art: Front

01. Something Like That ( 5:25)
02. Yaya & Kiwi ( 5:05)
03. Infant Tales ( 6:56)
04. This Time The Dream's On Me ( 6:30)
05. The Race ( 5:18)
06. Gateway ( 8:52)
07. Easyfetz ( 6:36)
08. Makeshift ( 8:57)
09. Tarantella ( 6:48)
10. Hot Coffee (12:47)

Personnel:
Drums - Wolfi Rainer
Guitar - John Arman
Hammond Organ - Christian Wegscheider

After about five years of band history has finally come: The first CD is there and with a little "best of" program perpetuates the band their favorite titles in recent years. Heard there mainly Arman and Wegscheider originals, but the composer remains zweitrangig- the blind understanding of the three Tyrolean men makes the music and gives it that unique, unmistakable sound. ~Google translation

John Arman Organ Trio

---

Anoushka Shankar - Land Of Gold

Size: 134,9 MB
Time: 57:55
File: MP3 @ 320K/s
Released: 2016
Styles: World/Jazz
Art: Front

01. Boat To Nowhere ( 5:46)
02. Secret Heart ( 5:17)
03. Jump In (Cross The Line) (Feat. M.I.A.) ( 2:55)
04. Dissolving Boundaries ( 5:16)
05. Land Of Gold (Feat. Alev Lenz) ( 4:39)
06. Last Chance ( 4:42)
07. Remain The Sea (Feat. Vanessa Redgrave) ( 4:11)
08. Crossing The Rubicon (10:58)
09. Say Your Prayers ( 4:48)
10. Reunion ( 4:59)
11. Land Of Gold (Instrumental/Bonus Track) ( 4:19)

Land of Gold is Anoushka Shankars fervent response to the humanitarian trauma of displaced people fleeing conflict and poverty.

The virtuoso sitar player explores an expressive range, conveying an evocative journey infused with a message of enduring hope. With exquisite arrangements blending genres and musical collaborations, Land of Gold is a narrative communicated with conviction and poetic beauty.

Land of Gold originated in the context of the humanitarian plight of refugees. It coincided with the time when I had recently given birth to my second child. I was deeply troubled by the intense contrast between my ability to provide for my baby, and others who desperately wanted to provide the same security for their children but were unable to do so. Anoushka Shankar.

The narrative thread carried throughout the album evokes themes of disconnection, vulnerability and the underlying hope that persists in our darkest experiences. My instrument is the terrain in which I explore the gamut of emotional expression evoking shades of aggression, anger and tenderness, while incorporating elements of classical minimalism, jazz, electronica and Indian classical styles. Anoushka Shankar

Produced by Anoushka and her husband Joe Wright, whose film-making sensibilities helped to shape and add depth to the mood and energy of the album.

Notable electronic producer Matt Robertson (who is a long-term collaborator of Bjork) added cinematic soundscapes and textures, enhancing the initial compositions. Anoushka worked with a core-team of gifted musicians: At its base the album is designed as a trio of Anoushka, the famous Hang Drum player Manu Delago who performs on and co-wrote many of the pieces, and Sanjeev Shankar who was a student of her father Ravi Shankar, playing the Shehnai, a beautiful reed instrument from India.

Top notch female guest artists lend their voices to the album: M.I.A. with the Song, Jump In (Cross the Line), the wonderful singer Alev Lenz on Land of Gold and the actress and activist Vanessa Redgrave on Remain the Sea (reading a poem by Pavana Reddy). Not only do they add different musical styles and voices of different generations but all of them represent strong women known for using their voices for equality and against injustice. The last song Reunion features a girls children choir Girls for Equality.

The music is mainly based on western harmonics, features great electronic programming, string arrangements, hip hop elements, beautiful songwriting and virtuoso sitar performances embedded in exciting contemporary arrangements.

Land Of Gold

---