Paul Bley - Homage to Carla Bley

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 56:50
Size: 130,6 MB
Art: Front

(5:20)  1. Seven
(6:40)  2. Closer
(6:30)  3. Olhos de Gato
(5:15)  4. And Now the Queen
(5:37)  5. Vashkar
(3:43)  6. Around Again
(6:52)  7. Donkey
(3:54)  8. King Korn
(1:53)  9. Ictus
(5:07) 10. Turns
(5:56) 11. Overtoned

Pianist Paul Bley, whose earliest recordings sound like Al Haig or Bud Powell, took the styles and techniques associated with Oscar Peterson, Wynton Kelly and Bill Evans to new levels of creative experimentation, becoming an indispensable force in modern music by combining the best elements in bop and early modern jazz with extended free improvisation and procedural dynamics often found in 20th century chamber music. This approach places him in league with artists as diverse as Red Garland, Elmo Hope, Mal Waldron, Jaki Byard, Stanley Cowell, Keith Jarrett, Andrew Hill, Lennie Tristano, Cecil Taylor, Ran Blake, Sun Ra, and Marilyn Crispell. Even a cursory overview of Bley's life and work can be pleasantly overwhelming, for he is among the most heavily recorded of all jazz pianists and his story is inextricably intertwined with the evolution of modern jazz during the second half of the 20th century. Hyman Paul Bley was born in Montreal, Canada on November 10, 1932. A violin prodigy at five, he began playing piano at eight and studied at the McGill Conservatorium, earning his diploma at age eleven. Before long, Hy "Buzzy" Bley was sitting in with jazz bands and had formed his own group. Already a skilled pianist, he landed a steady gig at the Alberta Lounge soon after Oscar Peterson left to begin working for Norman Granz in 1949. The following year Bley continued his musical education at the Juilliard School in New York while gigging in the clubs with trumpeter Roy Eldridge, trombonist Bill Harris, and saxophonists Ben Webster, Sonny Rollins, and Charlie Parker. While enrolled at Juilliard he played in a group with trumpeter Donald Byrd, saxophonist Jackie McLean, bassist Doug Watkins, and drummer Art Taylor. He also hung out at Lennie Tristano's residential studio, absorbing ideas.

Paul Bley's earliest known recordings survive as soundtracks from Canadian television; the first in 1950 with tenor saxophonist Brew Moore and the second in February 1953 with Charlie Parker, special invited guest of the Montreal Jazz Workshop, an artist-run organization Bley helped to establish. His first studio recording date took place in November 1953 with bassist Charles Mingus and drummer Art Blakey. The young pianist's constant interaction with archetypal and influential musicians was phenomenal; he also sat in with trumpeter Chet Baker and saxophonist Lester Young. In 1954 he led three different recording sessions with bassists Peter Ind and Percy Heath, and drummer Alan Levitt. At this stage of his career Paul Bley was an inspired, extremely adept bop pianist whose first decisively innovative period was just about to commence. The plot thickened when Bley moved to California in 1957 and began holding down a steady engagement at the Hillcrest Club in Los Angeles, where he was recorded in 1958 with saxophonist Ornette Coleman, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins. He also performed with Canadian trumpeter Herb Spanier and recorded an album with vibraphonist Dave Pike, featuring liner notes and one composition by Karen Borg, a brilliant musician who married the pianist in 1957 and changed her name to Carla Bley. In 1959 the Bleys moved to New York City where they continued to interact with musicians who were operating on the cutting edge of modern jazz including multi-instrumentalist Roland Kirk, saxophonist and composer Oliver Nelson; composer and bandleader George Russell; composer, bassist and bandleader Charles Mingus; trumpeter and bandleader Don Ellis; bassists Gary Peacock and Steve Swallow; drummer Pete La Roca and multi-reedman Jimmy Giuffre. In 1961 Paul Bley made his first visit to Europe.More..~arwulf arwulf http://www.allmusic.com/artist/paul-bley-mn0000745617/biography

Homage to Carla

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Herbie Mann - Live At Newport

Styles: Flute Jazz
Year: 1963
File: MP3@320K/s
Time: 40:24
Size: 94,0 MB
Art: Front

( 7:40)  1. Soft Winds
( 7:39)  2. Desafinado
( 6:09)  3. Samba De Orfeu
(10:49)  4. Don't You Know
( 8:05)  5. Garota De Ipanema

Most of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit "Desafinado" is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded "The Girl From Ipanema" (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as "Garota De Ipanema." A catchy rendition of "Soft Winds," the bossa nova "Samba De Orfeu," and Ben Tucker's "Don't You Know" round out the well-played program.~Scott Yanow http://www.allmusic.com/album/live-at-newport-mw0000011986

Personnel: Herbie Mann (flute); Attila Zoller (guitar); Don Friedman (piano); Dave Pike (vibraphone, background vocals);  Bobby Thomas (drums); Willie Bobo, Carlos "Patato" Valdes (percussion).

Live At Newport

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Buck Clayton, Joe Turner - Buck Clayton Meets Joe Turner

Bitrate: MP3@320K/s
Time: 44:29
Size: 101.8 MB
Styles: Trumpet jazz
Year: 1965/1988
Art: Front

[7:27] 1. Honeysuckle Rose
[7:30] 2. I'm In A World Of Trouble
[4:10] 3. I Can't Get Started
[3:22] 4. Feel So Fine
[9:02] 5. Perido
[3:21] 6. I Want A Little Girl
[9:34] 7. Too Late, Too Late

Despite its title, trumpeter Buck Clayton and blues singer Big Joe Turner actually perform on three separate songs apiece, only coming together on the concluding "Too Late, Too Late." Recorded in Yugoslavia, these performances also utilize a four-piece Yugoslavian quartet, with vibraphonist Bosko Petrovic the only player to receive much fame through the years. Turner sounds fine on a pair of his blues and "I Want a Little Girl," while Buck jams enthusiastically on "Honeysuckle Rose," "I Can't Get Started" and "Perdido." Nothing all that surprising occurs, but the music is quite satisfying. ~Scott Yanow

Buck Clayton Meets Joe Turner

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Jo Lawry, Karen Oberlin, Michael Winther - Waiting For The Angel

Bitrate: MP3@320K/s

Time: 56:34

Size: 129.5 MB

Styles: Chamber pop

Year: 2015

Art: Front

[5:51] 1. Who Do You Belong To

[3:28] 2. Bad Idea

[4:41] 3. The Angels In The Attic

[3:23] 4. Nothing

[4:30] 5. Do You Think This Happens Everyday

[6:02] 6. Donna The Astronomer

[4:09] 7. The Girl In The Groovy Box

[6:26] 8. Suffer

[6:11] 9. Your Project

[4:19] 10. Good Things Happen Slowly

[3:19] 11. Lullaby For Nathan Charles

[4:10] 12. Weren't We In Love

After years of writing about songs in books and essays, David Hajdu has taken up writing them. Over the past five years, Hajdu has been working with several esteemed composers of jazz, pop and theater music: the pianists Renee Rosnes and Fred Hersch, the alternative-folk singer-songwriter Jill Sobule, and the veteran Broadway composer Michael (Mickey) Leonard. The result is Waiting for the Angel, a collection of quirkily artful songs that defy easy categorization.

An all-star group of artists came together to record the material: singers Jo Lawry, Karen Oberlin, and Michael Winther; pianists Rosnes and Hersch, playing the songs they composed; additional pianist Tedd Firth; and a band with saxophonist Steve Wilson, trumpeter Steven Bernstein, guitarist Peter Bernstein; oboist Charles Pillow, cellist Dave Eggar, bassist Sean Smith, and drummer Carl Allen. Much like Hajdu's writing in prose, the lyrics on Waiting for the Angel tell unexpected tales from unconventional vantage points. "David Hajdu's lyrics tell complex and moving stories -- always from his unique point of view," says Fred Hersch. "They are so easy to work with, the songs almost write themselves."

Jill Sobule adds, "I wish I wrote those lyrics myself." As Renee Rosnes says, "When David first asked if I might be interested in writing some songs together, I was very intrigued. I was well aware that he is a wordsmith of the highest order and was excited at the prospect that we might be able to create something of beauty together. Collaborating with David has been a true revelation. It was very fulfilling to hear Jo, Karen, and Michael bring our songs to life with their brilliant artistry. I feel that David's words have awakened a new compositional side of me, and it is one that I am looking forward to continuing to explore."

Waiting For The Angel

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Jim Croce - Photographs And Memories: His Greatest Hits

Bitrate: MP3@320K/s
Time: 40:33
Size: 92.9 MB
Styles: AM pop, Folk/rock
Year: 1975/1995
Art: Front

[2:58] 1. Bad, Bad Leroy Brown
[3:46] 2. Operator (That's Not The Way It Feels)
[2:05] 3. Photographs And Memories
[2:42] 4. Rapid Roy (The Stock Car Boy)
[2:25] 5. Time In A Bottle
[3:05] 6. New York's Not My Home
[2:29] 7. Workin' At The Car Wash Blues
[3:09] 8. I Got A Name
[2:29] 9. I'll Have To Say I Love You In A Song
[2:59] 10. You Don't Mess Around With Jim
[3:01] 11. Lover's Cross
[2:44] 12. One Less Set Of Footsteps
[3:09] 13. These Dreams
[3:26] 14. Roller Derby Queen

Until his untimely death, Jim Croce was a force to be reckoned with on radio playlists. Photographs & Memories repackages some of his best work. Romantic acoustic-oriented songs were his hallmark, and songs like "Time in a Bottle," were huge hits because of their easy sentimentality. "I Got a Name" was the singer as well-worn folk traveler, while "Bad, Bad Leroy Brown" and even "You Don't Mess Around with Jim" followed standard boogie chord progressions, albeit with Croce's softer rock feel. There wasn't much really separating the overt emotions of "I'll Have to Say I Love You in a Song" and "Operator" from his sap-dripping contemporaries, but there was just enough of an edge in Croce's warm voice to elevate his love songs to another level. Like a, oh, moderately priced wine, Croce remains a classic--accessible, affordable, and easy to enjoy. ~Steve Gdula

Photographs And Memories: His Greatest Hits

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Doug Raney Trio - The Backbeat

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 64:15
Size: 148,1 MB
Art: Front

( 8:57)  1. Love For Sale
(11:22)  2. Jimmy James
(10:31)  3. Prelude To A Kiss
( 7:56)  4. The Backbeat
( 8:33)  5. Purple Eyes
( 7:33)  6. Lee
( 9:21)  7. Driftin'

Some how out of the lineage of significant jazz guitarists, the late Jimmy Raney gets left out of the mix. In equal fashion, it seems like his son Doug suffers from the same lack of awareness on the part of the general jazz public. Doug’s choice to reside in Denmark probably doesn’t help the recognition factor either. Fortunately, SteepleChase has chosen on several occasions to provide a recorded forum for the younger Raney’s creative muse. Opting for a different line-up then utilized on his past SteepleChase efforts, Raney chooses to work in the organ combo format for The Backbeat. In the label’s entire catalog, this marks only the third time a B-3 would be on hand and the second appearance by De Francesco, the other two occasions both being Dave Stryker projects. It proves to be a winning combination, with Raney’s melodic warmth complimented nicely by Joey’s bop histrionics. As I listen to the relaxed lilt of “Jimmy James” (an original by Doug written for his late dad and his young son) the idea of this perfect combination becomes even more apparent. 

DeFrancesco keeps the bass plump and full each time the four-chord vamp comes around and even with all his technical ability, Raney takes his time and unfold his own story with patience. Hart is a model of heartening support throughout. He also creates great interest through his imaginative use of cymbal timbres. Other winners are Horace Silver’s title track and Herbie Hancock’s “Driftin’”. But then again, everything here comes out fitting as comfortably as a favorite old flannel shirt.~C.Andrew Hovan http://www.allaboutjazz.com/the-backbeat-doug-raney-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Doug Raney- guitar, Joey DeFrancesco- organ, Billy Hart- drums

R.I.P.
Born:  August 29, 1956 /Died:  May 2, 2016

The Backbeat

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Leandra Peak - The Honeysuckle Vine: Lullabies For Everybody

Size: 71,9 MB
Time: 30:28
File: MP3 @ 320K/s
Released: 2010
Styles: Folk
Art: Front

01. Kentucky Babe (3:50)
02. In The Woods (3:45)
03. Travelin' To You (2:05)
04. Everybody Needs A Lullaby (4:00)
05. I Think About You (2:16)
06. Moon River (2:54)
07. I'll Be Here (2:26)
08. Now The Day Is Over (3:12)
09. Lullaby For You (2:46)
10. Stay Awake (3:09)

Leandra Peak has long been a favorite as half of the Minneapolis-based folk duo Neal & Leandra (with husband Neal Hagberg). Now she steps out front with her first solo recording, The Honeysuckle Vine: Lullabies for Everybody.

Lullabies have been a musical thread throughout Leandra’s life. She remembers her mother singing to her when she was young in Kentucky. She brings that same quiet intimacy to this beautiful collection of lullabies.

She says: “This CD is in response to the people who have told me how relaxing they find my singing. I’m never quite sure how to take it, but it seemed like a lullaby album would be a natural way to go. This is my offering to any of you who might need a break — or a nap. Because everybody needs a lullaby.”

The Honeysuckle Vine features six beautiful originals by Neal Hagberg. Covers include “Kentucky Babe” and “Now the Day Is Over” — songs Leandra’s mom sang to her. “Stay Awake,” is from Mary Poppins, and Leandra chose the Mancini/Mercer classic “Moon River” because she liked the idea of singer and listener being “two drifters, off to see the world.”

Joining Leandra are many top Twin Cities musicians: Jeff Victor, Peter Ostroushko, Dan Schwartz, Gordon Johnson, Dave Jensen, Karen Mueller, Jacqueline Ultan, Dan Chouinard, and Neal Hagberg.

The Honeysuckle Vine

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Todd Beaney - Come Dance With Me

Size: 112,0 MB
Time: 48:03
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Rock
Art: Front

01. Come Dance With Me (4:00)
02. Live This Day (3:49)
03. Time For A Change (4:41)
04. Bring It On (4:23)
05. Get Going! (5:07)
06. Seeking To Become (3:37)
07. Today Is Happening (4:18)
08. Up To You (4:28)
09. Diamonds On The Water (6:24)
10. Wormwood's Dilemma (7:11)

Each of the ten originals on this remarkable CD is a gem in its own right, featuring a zesty blend of inspired individual performances, a band chemistry that is both controlled and explosive, and Beaney's distinctive compositional touch. The combination of these seasoned New York area musicians is a winner, as demonstrated in the variety of styles presented on this album--with each track more surprising than the last.
The ensemble work is excellent, and fine solo work is evident throughout as well, particularly in soaring improvisations from trumpeter Chris Pasin, saxophonist Jeff Schiller, and guitarist Al Orlo. Drummer Mark Dodge provides a backbone that is both unwavering and exquisitely tasteful, while keyboardist Beaney and bassists Steve Wexler and Kip Sophos supply solid underpinning and take smooth solo turns as well. There is even a guest appearance by the excellent Uptown Horns on one track--and, together with Pasin and Schiller, the six horns combined may make you think you are hearing a big band.
"Come Dance with Me" is a welcome new offering of contemporary jazz-rock. Fans of instrumental jazz will find it both intriguing and infectious!

Come Dance With Me

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Ann Martindale & Richard Busch - Blue Champagne

Size: 119,9 MB
Time: 51:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. They All Laughed (2:43)
02. Sentimental Journey (3:10)
03. My Baby Just Cares For Me (2:14)
04. It Might As Well Be Spring (3:27)
05. I Can't Get Started (3:11)
06. Blue Champagne (3:13)
07. Nearness Of You (2:38)
08. Nice Work If You Can Get It (2:51)
09. Do You Know What It Means To Miss New Orleans (3:30)
10. A Nightingale Sang In Berkeley Square (4:02)
11. I Wish I Were In Love Again (2:37)
12. Come Rain Or Come Shine (3:23)
13. Don'tcha Go 'way Mad (2:31)
14. Drinking Again (2:22)
15. Something Cool (4:27)
16. Route 66 (2:37)
17. Can't Take You Nowhere (2:20)

Since 2007, Ann Martindale and Richard Busch have been performing classic American songs and jazz standards at venues in Massachusetts, Florida, New York and Connecticut.

Their repertoire includes songs by such greats as Rodgers & Hart, Duke Ellington, George Gershwin, Harold Arlen, Johnny Mercer, Cole Porter, Hoagy Carmichael, Nat King Cole, Thomas “Fats” Waller and two of their particular favorites, Blossom Dearie and Dave Frishberg.

Recent bookings include the Metropolitan Room in New York City, the historic Nantucket Atheneum, the Baker Art Museum in Naples, Florida, as well as other libraries, museums and other concert venues in Florida and New England.

Richard is an accomplished composer, pianist and a Juilliard graduate. He has received grants in composition from the National Endowment for the Arts and has been a noted conductor and choral director for many years in Massachusetts. Each summer, he performs in a series of classical piano concerts on Cape Cod. He lives in Dennisport, Massachusetts.

Ann has been a frequent soloist in Massachusetts, Florida and Connecticut classical and popular music concerts, including programs for several seasons at the Newtown Meetinghouse and the Merryall Center for the Arts in Connecticut, as well as in summer concert series on Cape Cod. She lives in Fort Myers, Florida, and Nantucket, Massachusetts.

Blue Champagne

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Groovy Jazz Trio - Blue Songs

Size: 167 MB
Time: 23:58
File: FLAC
Released: 2015
Styles: Jazz/Soul: Hamond Organ
Art: Front

01. I Got A Woman (3:48)
02. Stop And Listen (4:22)
03. Celestin (3:40)
04. Georgia On My Mind (4:24)
05. Work Song (4:10)
06. Four On Six (3:33)

Personnel:
Jean-Christophe Renvoyer : Electric Guitar
Antoine Hervier : Organ
Alban Mourgues : Drums

Blue Songs

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Clare Teal - Twelve O’Clock Tales

Size: 154,0 MB
Time: 66:40
File: MP3 @ 320K/s
Released: 2016
Styles: Vocal Jazz
Art: Front

01. It Might As Well Be Spring (3:40)
02. Feeling Good (5:19)
03. Wild Is The Wind (3:55)
04. Sans Souci (3:26)
05. I'll Never Stop Loving You (5:31)
06. La Belle Dame Sans Regret (5:06)
07. Lush Life (5:58)
08. Never Again (3:33)
09. Spring Can Really Hang You Up The Most (6:42)
10. Always True To You In My Fashion (3:42)
11. Whole (It Isn't Like Me) (4:21)
12. Secret Love (6:27)
13. The Folks Who Live On The Hill (4:10)
14. Paradisi Carousel (4:43)

One of the UK’s finest Jazz singers and much loved performers Clare Teal explores timeless classics penned by the legendary musical storytellers of the last 100 years, and celebrates the giants of the Great American and British Song Books through to the work of more contemporary writers crafting the standards of today plus Clare’s own original compositions.

Accompanied by the renowned Hallé, conducted by Stephen Bell and arranged by British composer and trumpet maestro Guy Barker and celebrated jazz pianists Grant Windsor and Jason Rebello, the rich jazz infused repertoire includes songs from Cole Porter, Billy Strayhorn, Rodgers & Hammerstein and Tim Rice, made famous by the likes of Ella Fitzgerald, Nina Simone, Nancy Wilson and Peggy Lee.

The Hallé is now in its 158th season and ranks among the UK’s top symphonic ensembles with acclaimed performances worldwide

Twelve O’Clock Tales is Clare’s 15th Album and her 7th album released on MUD records.

Twelve O’Clock Tales

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Meade Lux Lewis - Cat House Piano

Bitrate: MP3@320K/s
Time: 76:27
Size: 173.5 MB
Styles: Blues-jazz piano
Year: 1954/1998
Art: Front

[4:59] 1. The Pittsburgh Flyer
[4:53] 2. Dragon Blues
[6:08] 3. Jabouti
[5:14] 4. Torpedo Juice
[5:35] 5. Joe Prein's Boogie
[6:33] 6. 620 Boogie
[5:46] 7. Meade's Mambo
[6:13] 8. San Francisco Shuffle
[3:57] 9. Spoony Sam
[5:47] 10. Mama's Bounce
[5:17] 11. Shooboody
[6:09] 12. Hangover Boogie
[3:43] 13. Yancey's Last Ride
[5:27] 14. Bush Street Boogie

This single CD from 1998 has all of the music from boogie-woogie pianist Meade Lux Lewis' two Verve LPs of 1954-1955. The earlier date is a set of duets with drummer Louie Bellson, while the later session finds Lewis accompanied by bassist Red Callender and drummer Jo Jones. The packaging is perfect, and with 76-and-a-half minutes of playing, the amount of music is generous. The only problem is that there is a definite sameness to the 14 selections (which mostly clock in between four and seven minutes), the majority of which are medium-tempo blues romps. None of the melodies (all Lewis originals) are at all memorable. The romping momentum of the music overall is difficult to resist, but it is advisable to listen to this set in small doses. Scott Yanow

Cat House Piano

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Oscar Brown, Jr. - Tells It Like It Is!

Bitrate: MP3@320K/s
Time: 32:52
Size: 75.2 MB
Styles: Jazz/Funk/Soul/Blues vocals
Year: 1963/1989
Art: Front

[2:29] 1. Sing Hallelujah
[2:22] 2. One Foot In The Gutter
[2:57] 3. So Help Me (A Little 3 4 For God And Co.)
[2:30] 4. Man, Ernest Boy
[3:07] 5. The Tree And Me
[3:02] 6. Jeannine
[2:41] 7. The Snake
[3:44] 8. A Young Girl
[4:04] 9. All Blues
[3:16] 10. If I Only Had
[2:35] 11. Tall Like Pine

This is a small-group date, recorded in Chicago, featuring a couple of Brown's originals, plus new lyrics for Miles Davis' "All Blues" and Clark Terry's "So Help Me." ~John Bush

Although rooted in jazz, singer, poet, and activist Oscar Brown, Jr. defied musical categorization throughout his long and eclectic career -- a forerunner of the political consciousness that would become predominant in soul, funk, and hip-hop in the decades to follow, his efforts to exact social change spread across the arts and even into government, spurring two unsuccessful but memorable campaigns for office. Born on Chicago's South Side on October 10, 1926, Brown was the son of a successful attorney and property broker who wanted his firstborn someday to assume control of the family business; instead, Brown was drawn to writing and performing, and by 15 was a regular on writer Studs Terkel's radio program Secret City. After skipping two grades, he entered the University of Wisconsin at 16, but finding the world of academia little to his liking, Brown returned to broadcasting, and in 1944 was tapped to host Negro Newsfront, the nation's first black news radio broadcast. Dubbed "America's first Negro newscaster," he relinquished the gig in 1948 to run for the Illinois state legislature on the Progressive Party ticket -- he did not win, and spent the remainder of the decade working on writer/producer Richard Durham's Black Radio Days series, followed by a two-year stint in the U.S. Army. ~partial bio by Jason Ankeny

Tells It Like It Is

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Ithamara Koorax - Got To Be Real

Bitrate: MP3@320K/s

Time: 59:21

Size: 135.9 MB

Styles: Jazz vocals

Year: 2013

Art: Front

[4:49] 1. Got To Be Real

[3:16] 2. Up, Up And Away

[5:11] 3. Never Can Say Goodbye

[3:11] 4. Goin' Out Of My Head

[5:32] 5. Can't Take My Eyes Off Of You

[5:06] 6. Butterfly

[3:19] 7. I Get A Kick Out Of You

[5:38] 8. Toque De Cuica

[4:12] 9. Negue

[2:13] 10. My Favourite Things

[4:35] 11. Ho-Ba-La-La

[4:47] 12. Pigmaliao

[4:07] 13. Vesti Azul

[3:18] 14. Got To Be Real (Radio Mix)

Jose Roberto Bertrami – organs, Rhodes, synthesizer, Jorge Pescara – bass, Haroldo Jobim – drums, Arnaldo DeSouteiro – percussion, Sidinho Moreira – percussion, Paulo Fernando Marcondes Ferraz – percussion, Marcelo Martins – tenor sax, Jesse Sadoc – trumpet, Aldivas Ayres - trombone

The song selection and the effective use of the synthesizer on Ithamara Koorax new release Got to be real gives the album a vintage 70s feel. The first half of the album starting with the slow, sexy, smooth jazz arrangement of this Disco hit "Got to be real" has a that distinct fusion jazz sound. Koorax displays her amazing range and sultry, sexy voice all throughout the album and even though all the musicians do a great job on Got to be real, Koorax and her voice are the stars here, especially on the bossa nova arrangements of "Up, up an away", and "Going out of my head".

On the second half of the album, Koorax goes into her brazilian roots in the samba "Toque de cuica", the sublime interpretation of Joao Gilberto "Ho ba la la", and the beautiful ballad "Negue". But two of the highlights of the album are Cole Porter "I get a kick out of you", where Koorax demonstrates she is a true jazz singer capable of swinging with the best, and on the ingenious samba arrangement of "My Favorite Things". On the eclectic blend of styles on Got to be real (bossa nova, samba, jazz, mpb, smooth and fusion jazz) Koorax shows once again why she is recognized as one of the best female jazz singers in recent years. ~Wilbert Sostre

Got To Be Real

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Tommy Newsom - Friendly Fire

Bitrate: MP3@320K/s
Time: 71:02
Size: 162.6 MB
Styles: Bop, Saxophone jazz
Year: 2001
Art: Front

[6:01] 1. Close Your Eyes
[5:27] 2. Just Friends
[5:09] 3. Softly, As In A Morning Sunrise
[7:17] 4. Do Nothin' Till You Hear From Me
[4:22] 5. Quiet Nights Of Quiet Stars (Corcovado)
[5:52] 6. Cotton Tail
[7:13] 7. Stardust
[5:18] 8. (I Would Do) Anything For You
[4:41] 9. Billie's Bounce
[4:48] 10. Easy Living
[4:36] 11. Take The A Train
[4:10] 12. Rainbow Connection
[6:04] 13. Things Ain't What They Used To Be

Tommy Newsom spent such a long time in the Tonight Show Orchestra that jazz fans overlook his contributions. Finally recording regularly as a leader at the dawn of the 21st century, this solidly swinging tenor saxophonist has plenty to say on this studio session, which covers the music of several decades. Joined by veteran valve trombonist Bob Enevoldsen and a rhythm section including pianist John F. Hammond, guitarist Bob Bain, bassist Jim Hughart, and drummer Dave Hunt, Newsom's imaginative arrangements bring out the best in each track. The songs lean heavily toward the swing era, including an easygoing "Do Nothin' Till You Hear From Me," a lush "Star Dust," and a pulsating "Cotton Tail." But Newsom adds a cool-toned "Softly, As in a Morning Sunrise" featuring a beautifully interwoven counter melody by Enevoldsen, a snappy take of Charlie Parker's "Billie's Bounce," and a waltzing treatment of a song made famous on Sesame Street, "The Rainbow Connection," the latter which omits the horns. The musicianship of all parties is superb throughout this delightful session. ~Ken Dryden

Friendly Fire

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Julie London - Cry Me A River

Styles: Vocal Jazz

Year: 1995

File: MP3@320K/s

Time: 63:57

Size: 153,5 MB

Art: Front

(2:59)  1. Cry Me A River

(4:11)  2. One For My Baby

(2:47)  3. Making Whoopee

(3:15)  4. It Could Happen To You

(3:24)  5. When I Fall In Love

(1:49)  6. What Is This Thing Called Love

(3:11)  7. They Can't Take That Away From Me

(3:58)  8. Angel Eyes

(1:55)  9. I Love You

(2:32) 10. I'm In The Mood For Love

(2:29) 11. I'm Glad There's You

(1:46) 12. Laura

(2:33) 13. Blue Moon

(2:10) 14. Spring Is Here

(3:04) 15. The More I See You

(2:26) 16. It's A Blue World

(3:01) 17. A Stranger In Town

(3:17) 18. Two Sleepy People

(2:21) 19. Goody Goody

(2:53) 20. Little White Lies

(2:11) 21. I Got Lost In His Arms

(2:06) 22. The One I Love Belongs To Someone Else

(3:28) 23. Learning The Blues

A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck and Rock Hudson in various films, and was married to Jack Webb of Dragnet fame for seven years before marrying songwriter Bobby Troup ("Route 66").

London performed her biggest hit, "Cry Me a River," in the Jayne Mansfield film The Girl Can't Help It. After recording her last album, Yummy, Yummy, Yummy, in 1969, she continued to act playing a nurse on the NBC medical drama Emergency from 1974-1978. Despite her "sex symbol" image London was known for her sexy LP covers, which make them collector's items she was surprisingly shy, and left show biz altogether in the late '70s. In the mid-'90s London suffered a stroke, which led to a half-decade of poor health and ultimately contributed to her death on October 18, 2000.~Alex Henderson http://www.allmusic.com/artist/julie-london-mn0000247966/biography

Cry Me A River

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'Big' John Patton - Oh Baby!

Styles: Soul Jazz
Year: 1965
File: MP3@320K/s
Time: 40:48
Size: 94,5 MB
Art: Front

(7:43)  1. Fat Judy
(6:19)  2. Oh Baby
(5:41)  3. Each Time
(7:54)  4. One To Twelve
(6:36)  5. Night Flight
(6:32)  6. Good Juice

Patton's fourth album for Blue Note. Big John Patton with Grant Green on guitar and Harold Vick on tenor sax. With tunes like "Fat Judy" and "Good Juice," there is no worry about there being a groove. The addition of a trumpet (Blue Mitchell) means you have a horn section, and this tends to be a little much now and again.

Although a little on the light side, thanks to Patton and Green, the groove does go down.~Michael Erlewine http://www.allmusic.com/album/oh-baby!-mw0000766666

Personnel: Big John Patton (organ); Grant Green (guitar); Harold Vick (tenor saxophone); Blue Mitchell (trumpet); Ben Dixon (drums).

Oh Baby!

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Doug Watkins - Soulnik

Styles: Jazz, Hard Bop
Year: 1960
File: MP3@320K/s
Time: 36:60
Size: 98,3 MB
Art: Front

(6:19)  1. 01. One Guy.mp3
(6:50)  2. 02. Confessin' (That I Love You).mp3
(5:48)  3. 03. Soulnik.mp3
(7:00)  4. 04. Andre's Bag.mp3
(5:37)  5. 05. I Remember You.mp3
(6:12)  6. 06. Imagination.mp3

Bassist Doug Watkins only led two recording sessions before his death in 1962, and this set (which was cut for New Jazz and reissued on CD in the OJC series) has sometimes appeared under Yusef Lateef's name. Watkins doubles on cello (an instrument he had reportedly only begun playing three days earlier) during the set with Lateef (who triples on tenor, flute, and oboe), pianist Hugh Lawson, bassist Herman Wright, and drummer Lex Humphries. The quintet performs three standards, Watkins' "Andre's Bag," and a couple of Lateef tunes. The use of oboe and cello on some numbers makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this CD.~Scott Yanow http://www.allmusic.com/album/soulnik-mw0000644708

Personnel: Doug Watkins (cello); Yusef Lateef (flute, oboe, tenor saxophone); Hugh Lawson (piano); Lex Humphries (drums).

Soulnik  

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Dave McKenna Swing Six - No Holds Barred

Bitrate: MP3@320K/s
Time: 64:58
Size: 148.7 MB
Styles: Piano jazz
Year: 2001
Art: Front

[7:08] 1. I Can't Believe That You're In Love With Me
[6:11] 2. Idaho
[6:10] 3. Memories Of You
[5:34] 4. Avalon
[4:14] 5. You're Lucky To Me
[4:19] 6. Look For The Silver Lining
[5:00] 7. Dave's Blues
[6:01] 8. Idaho
[4:37] 9. Look For The Silver Lining
[3:58] 10. You're Lucky To Me
[6:14] 11. Memories Of You
[5:27] 12. Avalon

Dave McKenna piano + leader, Warren Vache trumpet, Scott Hamilton tenor saxophone, Al Cohn tenor saxophone, Milt Hinton bass, Butch Miles drums.

Dave McKenna is undoubtedly the hardest swinging pianist on today's music scene. Long a favorite of players like Red Norvo, Carl Fontana and many others, McKenna has had a recording career dating back to the sixties. He's made some solo records as well as many small group dates.The disc at hand is probably the best he has produced up to the present. Backed by a truly compatible all-star group of players, everybody, including Dave, is given much space to stretch out....

No Holds Barred

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Christine Ebersole - Strings Attached

Bitrate: MP3@320K/s
Time: 50:09
Size: 114.8 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[3:00] 1. Shall We Dance
[4:27] 2. The Things We Did Last Summer
[3:48] 3. This Time The Dream's On Me
[5:12] 4. Ev'ry Time We Say Goodbye
[3:32] 5. Am I Blue
[5:33] 6. Moon Dreams
[2:44] 7. I Wish I Were In Love Again
[3:45] 8. Our Love Is Here To Stay
[5:09] 9. After You've Gone Too Gone Too Long
[3:41] 10. I'll Be Seeing You
[4:35] 11. Jitterbug Waltz
[3:08] 12. Something There
[1:29] 13. La La Lu

Two-time Tony Award®-winning actress Christine Ebersole teams with virtuoso violinist/arranger Aaron Weinstein for a program of classic songs imbued with originality, musicality, and swing. Known for her brilliance as an actress and cabaret artist, Ebersole proves that shes equally talented in the jazz arena on a selection of beautifully arranged versions of gems from the Great American Songbook. Tony Award® winner for her roles in 42nd Street and Grey Gardens, Ebersole is currently starring in the hit TBS sitcom Sullivan & Son, is featured in the 2013 blockbuster The Big Wedding (which ends with a song she wrote and performs), and appears in the Fall 2013 Scorsese drama The Wolf of Wall Street. Named a Rising Star Violinist by DownBeat, Aaron Weinstein is quickly earning a reputation as one of the finest jazz violinists of his generation. As a featured soloist he has performed at Carnegie Hall, Jazz at Lincoln Center, Wolftrap Center, Birdland, Blue Note, Iridium, and more.

Strings Attached

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