Kirk Whalum - Roundtrip

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 56:38
Size: 133,4 MB
Art: Front

(4:42)  1. Courtney
(4:34)  2. Desperately
(4:55)  3. Ruby Ruby Ruby
(6:51)  4. Glow
(4:51)  5. The Wave
(4:27)  6. Big Ol' Shoes
(4:42)  7. Inside
(4:47)  8. In A Whisper
(3:48)  9. Roundtrip
(6:13) 10. Back In The Day
(6:42) 11. Afterthought

Contemporary jazz saxophonist Kirk Whalum decided to take a little trip back in time on Roundtrip, back to the Memphis club scene that nurtured him early on, and to record some of his earliest compositions and ones written expressly for him with fresh ears as well as some new ones. Recording in four different places from Memphis to Los Angeles to New York to England, Whalum asked some old pals to pop in, like Earl Klugh, Jeff Golub, Gerald Albright, and Philippe Saisse, as well as some of his stalwart rocksteady bandmates such as Rex Rideout, drummer Michael White, bassist Melvin Davis, guitarist Mark Jaimes, and trumpeter James McMillan. There are a few other surprises as well, such as the appearance of Kim Fields on "In a Whisper," Shanice on "Inside," and sons Kyle, Hugh, and Kevin making appearances as well. Issued on his own Rendezvous Music imprint, this is Whalum at his most relaxed and celebratory. That said, Roundtrip has no less polish than anything recorded over his nearly 30-year career, and the label was his idea. It's a deeply personal offering that is celebratory in nature rather than merely reflective. The pairing with Klugh on "Ruby Ruby Ruby" is on the money. The keen melodic sensibilities both men possess complement one another perfectly, and the mix is skeletal enough to let Klugh's gorgeous guitar playing stand out. Whalum's tenor playing and the light, Latin-kissed composition are sparse and in the pocket. The reading of Nat Adderley, Jr.'s "The Wave" (the original is from 1988's And You Know That LP on Columbia) doesn't work quite so well in that Saisse does all the keyboards and programming and Whalum just blows over the top. The problem is that the synthetic handclaps add nothing; in fact, they detract from what otherwise might have been a nice funkier version of the tune. "Big 'Ol Shoes," which immediately follows, however, gets right down to it. Co-written by Whalum and Rideout, it's funky in all the right places, with one of those transcendent choruses that Whalum slips into his own tunes so often. The Grover Washington, Jr./Creed Taylor/Kudu feel is all over this one, with some killer keyboard work from Rideout and tasty guitars by Darrell Crooks.

The vocal performance by Shanice on "Inside" is a beautiful urban soul and nearly gospel performance, and Whalum lets his vocalist get to it without getting in her way. Producer James McMillan (who co-wrote the cut) keeps his star back in the mix until it's time for him to blow a solo. Kim Fields speaks her track, and it works seamlessly. Rideout, who co-wrote the cut, produces it and takes the same approach with Whalum, though the saxophonist plays more fills, allowing his in-the-pocket sense of lyric improvisation to underscore the vocalist's lines. "Back in the Day" is a slick but fruitful hip-hop track with rapper Caleb tha Bridge and Albright on alto. This is positive hip-hop, with plenty of soul casting a reflective and nostalgic look at the past. Whalum and John Stoddart act as a backing chorus. It's innocent but not cloying, the groove is solid, and the saxophonists playfully entwine around one another and do call and response, ending up playing harmony in the solo break. The chorus has "single" written all over it if only the square urban and smooth jazz radio programmers would get out of their rut and test it on an actual audience. The set ends with another early Whalum composition in "Afterthought" from his debut album, Floppy Disk, in 1985. The lithe groove shimmers and swirls as White's backbeat kicks the tune just enough in contrast to the deep bassline of Alex Al and the vibes-like percussion of Kevin Ricard; Rideout's keyboards paint Whalum's backdrop brightly and he blows the tune out of memory, from that charmed place of having the gratitude and sheer lyric talent needed to look back. It's not hollow nostalgia here, but rather the quintessential taste to revisit this tune with so much soul over two decades later and play it like he means it only there's wisdom here, too: the tune means something a little different now, and his blowing near the cut's end is full of deep swelling emotion and smoking chops he didn't have in 1985. Anybody could play his old tunes, or replay them, or re-record a greatest-hits album, but Whalum didn't do that; he made something new and beautiful out of his past that points to an even brighter, more aesthetically satisfying future now that he -- instead of another record company controls it. Highly recommended.~Thom Jurek http://www.allmusic.com/album/roundtrip-mw0000584656

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone, background vocals); Caleb tha Bridge (vocals, rap vocals); Kevin Whalum, Shanice Wilson (vocals); Kim "Blondielocks" Fields (spoken vocals); Mark Jaimes (guitar, guitars, bass guitar); Earl Klugh, Jeff Golub (guitar); Gerald Albright (alto saxophone); Peter Murray (piano, Fender Rhodes piano); Chris Carter (organ); Julian Crampton, Melvin Davis , Alex Al (bass guitar); Michael White , Elijah "DD" Holt (drums); Ekpe Abioto (percussion); Garry Goin, Darrell Crooks (guitar); James McMillan (trumpet, flugelhorn, piano, Fender Rhodes piano, programming); Philippe Saisse, Rex Rideout (keyboards, programming); John Stoddart (keyboards, background vocals); Simon Phillips (drums); Martin Ditcham, Kevin Ricard (percussion); Priscilla Jones-Campbell (background vocals).

Roundtrip

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Jeri Southern - Southern Breeze / Coffee, Cigarettes & Memories

Styles:  Jazz, Vocal
Year: 1958
File: MP3@320K/s
Time: 71:37
Size: 165,5 MB
Art: Front

(3:13)  1. Down With Love
(3:48)  2. Crazy He Calls Me
(3:06)  3. Lazy Bones
(3:16)  4. Who Wants To Fall In Love
(3:48)  5. Then I'll Be Tired Of You
(2:21)  6. Ridin' High
(3:15)  7. He Reminds Me Of You
(3:36)  8. Porgy
(3:42)  9. Are These Really Mine
(2:59) 10. Isn't This a Lovely Day
(2:56) 11. A Warm Kiss and a Cold Heart
(2:54) 12. I Like the Likes of You
(2:51) 13. Coffe, Cigarettes & Memories
(3:17) 14. Spring Will Be a Little Late T
(2:35) 15. This Time the Dream's On Me
(2:45) 16. Detour Ahead
(2:04) 17. The Song Is Ended
(2:33) 18. Yesterdays
(3:02) 19. Deep In a Dream
(3:01) 20. I'm Stepping Out Wit ha Memory
(2:23) 21. Maybe I Love You Too Much
(2:30) 22. Yesterdays Gardenias
(3:14) 23. I Must Have That Man
(2:20) 24. I'll Never Be the Same

In 1998, EMI released Southern Breeze/Coffee, Cigarettes & Memories, which contained two complete albums Southern Breeze (1958, originally released on Roulette) and Coffee, Cigarettes & Memories (1958, originally released on Roulette) by Jeri Southern on one compact disc.~Jason Birchmeier http://www.allmusic.com/album/southern-breeze-coffee-cigarettes-memories-mw0000528966

Southern Breeze / Coffee, Cigarettes & Memories

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John Handy - The 2nd John Handy Album

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 59:49
Size: 137,3 MB
Art:  Front

( 5:34)  1. Dancy Dancy
( 7:30)  2. Theme X
( 6:08)  3. Blues For A Highstrung Guitar
( 4:35)  4. Dance For Carlo B
(13:45)  5. Scheme No 1
( 7:46)  6. A Bad Stroke of Luck
( 5:39)  7. Blues For A Highstrung Guitar (alt)
( 8:50)  8. Debonair

Altoist John Handy's second Columbia album was actually his fourth as a leader. Utilizing the same musicians who had joined him during his sensational set at the 1965 Monterey Jazz Festival (violinist Michael White, guitarist Jerry Hahn, bassist Don Thompson and drummer Terry Clarke), Handy performs five of his complex yet accessible originals, which include the "Theme X" (in 5/4 time), the catchy "Blues for a Highstrung Guitar," and the adventurous "Scheme #1."The CD reissue adds three previously unissued alternate takes to the earlier program. This would be the unit's only studio album, and after disbanding, they did not reunite until 1994. The memorable music is highly recommended.~Scott Yanow http://www.allmusic.com/album/the-2nd-john-handy-album-mw0000605710

Personnel: John Handy (alto saxophone, tenor saxophone); Jerry Hahn (guitar); Terry Clarke (drums).

The 2nd John Handy Album

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Brian Blade & The Fellowship Band - Landmarks

Styles: Post-Bop, Straight-Ahead Jazz 
Year: 2014
File: MP3@320K/s
Time: 53:25
Size: 122,6 MB
Art: Front

( 0:56)  1. Down River
( 8:22)  2. Landmarks
( 1:04)  3. State Lines
(11:37)  4. Ark.La.Tex
( 1:52)  5. Shenandoah
( 5:39)  6. He Died Fighting
( 4:06)  7. Friends Call Her Dot
(13:22)  8. Farewell Bluebird
( 4:01)  9. Bonnie Be Good
( 2:21) 10. Embers

Four records in 16 years may not be prolific, but clearly Brian Blade and his longstanding Fellowship Band aren't about quantity. While a seemingly scant two years separated the drummer's leader debut (and inspiration for the group name), Fellowship (Blue Note, 1998) from its even more impressive follow-up, Perceptual (Blue Note, 2002), the group's next record, Season of Changes (Verve) came a full eight years later in 2008, and beyond a label change also reflected the trimming down of the Fellowship Band from its original septet to a sextet with the departure of pedal steel virtuoso Dave Easley. Another six years have passed, but Landmarks represents not only another label change as it returns to Blue Note, but some additional shifting on the personnel front, with the departure of Kurt Rosenwinkel, a key member since Perceptual. These days, more often than not, the Fellowship Band is, in performance, a lean but very potent quintet with five of its seven original members intact; for Landmarks, however, the group enlists guitarist Jeff Parker (making a return after being part of the group that recorded Fellowship) and Marvin Sewell to flesh out seven of the album's ten tracks. While the core quintet is absolutely capable of standing on its own—and as a fully acoustic group to boot, as demonstrated in a knock-out performance at the 2012 TD Ottawa Jazz Festival and virtual roof-raiser at Nasjonal Jazzscene Victoria, during the 2011 Oslo International Jazz Festival there's no doubt that Parker and Sewell have plenty to offer on a recording that, while retaining some of the fire that's fundamental to the group's live sets, clearly treats the studio as a different environment entirely.

For one thing, the brief opener, Cowherd's minute-long solo improvisation "Down River," is performed on that unwieldy progressive rock stalwart, the Mellotron; but here, the distinctive warbling sound of fluttering flute tapes only gives it a more strangely haunting quality that's the perfect setup for the title track, Cowherd's only other compositional contribution to Landmarks, though his unmistakable piano and pump organ work as much folk and country simplicity as it is jazz sophistication is, as ever, a strong definer of the Fellowship Band sound. "Landmarks" opens with a relatively rare solo from Thomas that, in duet with Cowherd, is the first of many demonstrations from the Fellowship Band members that it's not about individual instrumental virtuosity, though that's a fundamental anyway; it's about surrendering to the needs of the song and, in this case its simply beautiful, singable melody. As Blade enters and Butler and Walden reiterate the theme on soprano saxophone and bass clarinet respectively, the tune unfolds into a soprano solo of similar reverence, as Blade's light cymbal work is juxtaposed with more powerful runs around the kit, creating the punctuations for which he's become known, not just in Fellowship, but with Wayne Shorter and Daniel Lanois. Cowherd takes the final solo and it's a lengthy one but, like the entire album, it tells a story rather than merely demonstrating his intrinsic virtuosity a mastery required to intuit when to let loose with fireworks and when to keep things spare and simple.

More than merely a reflection of the many physical places this group has traveled in its 16-plus year existence, the album title speaks to inner travels, and a spiritual quality that's been palpable since the group's inception, making its name more than just a word. It's also a reflection of extracurricular activities brought back to the group, whether they're Walden's overtly jazz-centric Momentum (Demi Sound, 2009), more reflective In This World (Demi Sound, 2010) and aptly titled Countrified (Demi Sound, 2010); Blade's exploratory work with Shorter's Quartet (together almost as long as the Fellowship Band) and similarly searching work, albeit in a more rock-centric context, with Lanois on projects like Black Dub (Jive, 2010); or Cowherd' s work with everyone from singer/songwriter Rosanne Cash and Canadian bassist Chris Tarry to saxophonist Marcus Strickland and punk idol Iggy Pop. But rather than any of these disparate elements being obvious, they're subsumed into the unmistakable, singular voice that the Fellowship Band continues to evolve, gig after gig, year after year. Landmarks feature s a number of brief, sometimes through-composed miniatures that act as thematic threads that join the album together as a conceptual whole. Sewell's improvised piece of ambient soundscaping on "State Lines," reflects and sets up the five primary notes of Blade's "Ark.La.Tex." which follows, a lengthy exploration that builds slowly, with Butler and Walden (this time on tenor and alto saxophones) creating the thematic unison lines that occasionally, wonderfully, diverge, only to reunite as one. The piece begins to pick up steam, leading to an open middle section where Walden's prowess is bolstered by the joined-at-the-hip pocket created by Blade and Thomas, only to find its way back to the original theme and, ultimately, the composition's primary five-note motif, ending, as it began, with Sewell's ambient landscape, but this time with Cowherd creating a larger sound on pump organ. It's a marvelous piece of writing that, in its construction, seems to expand and contract as its episodic movements move outwards from its gentler beginnings, only to come full circle by the time it closes, twelve minutes later.

Cowherd's pump organ acts as the connecting thread from "Ark. La. Tex." to "Shenandoah," a lovely traditional tune that The Fellowship Band has explored at length in concert, but here keeps to a script, with Walden and Butler (on bass clarinet and tenor saxophone) delivering the familiar, bittersweet theme rubato, leading to Blade's solo introduction to "He Died Fighting," a song that could easily be transported into the singer/songwriter vein of the drummer's unexpected Mama Rosa (Verve, 2009) unexpected, because who'd have thought a drummer so capable of incendiary power would also be capable of such profound poetry, delivered with a voice so unassuming, tender and meaningful? Landmarks' longest piece, "Farewell Bluebird," follows the largely through-composed "Friends Call Her Dot," though Walden's opening a cappella bass clarinet solo is not unlike Cowherd's "Down River" in the way that it sets up this ambling, folkloric tune driven by Blade's gentle but persistently propulsive playing and Parker's subdued but essential tripling of the melody alongside Butler and Walden. It also seems to set up "Friends Call Her Dot," which initially revolves around a four-chord motif and some lovely contrapuntal playing from Cowherd and Walden, a thematic duo that soon becomes a trio when Butler enters on soprano. The solo section features Cowherd's most impressive solo of the set a lesson in motivic evolution whose end signals a shift in time and a bluesy riff that drives a gritty solo from Sewell that combines outré ideas with frenetic slide guitar, marrying Cowherd's modal support with the sound and feeling of the Mississippi Delta. As the Fellowship Band has grown, it has moved away from overt traditional references, even though they're an undercurrent throughout. Instead, as it explores milestones both inner and outer, Landmarks further speaks with the singular voice that the Fellowship Band has built upon since inception. Blending folkloric references, hints of church and spiritual concerns, jazz modality and countrified touchstones, Landmarks is the perfect name for Brian Blade & The Fellowship Band's fourth album; beyond its meaning to the group, it truly is yet another landmark recording in the core quintet's evolutionary travels. It may have come after a long gap in time, but that only makes it a wait all the more worthwhile.~John Kelman http://www.allaboutjazz.com/brian-blade-and-the-fellowship-band-landmarks-by-john-kelman.php

Personnel: Brian Blade: drums; Melvin Butler: soprano and tenor saxophones; Jon Cowherd: piano, mellotron, pump organ; Chris Thomas: bass; Myron Walden: alto saxophone; bass clarinet; Jeff Parker: guitar (7, 9); Marvin Sewell: guitar (3, 4, 6, 8, 10).

Landmarks

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Illinois Jacquet With Kenny Burrell - Desert Winds

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 35:02
Size: 81,1 MB
Art: Front

(5:22)  1. When My Dreamboat Comes Home
(4:20)  2. Desert Winds
(4:16)  3. Star Eyes
(3:17)  4. Blues For The Early Bird
(7:38)  5. Lester Leaps In
(3:53)  6. You're My Thrill
(6:13)  7. Canadian Sunset

Illinois Jacquet's searing sax solo in 1942's "Flying Home" (recorded while Jacquet was a member of Lionel Hampton's band) is often credited as the first R&B-styled saxophone solo, and there is no denying the power in that performance, shards of which are still being copied and assimilated. But many critics of the day hated the "dirty tenor" sound, and over the years Jacquet softened his approach considerably, knocking off the wilder corners and playing a smoother, more standard line. Not that this was necessarily a bad thing, since Jacquet was an accomplished melodic player in any style, but listeners should be aware that his rougher sound was all but gone by the time Desert Winds was recorded in 1964. Working with guitarist Kenny Burrell, pianist Tommy Flanagan, and a rhythm section of Wendell Marshall on bass and Ray Lucas on drums, with Willie Rodriguez adding bongos and congas on most tracks, Jacquet's playing here is hushed, easy, and pleasant, with no discernible hard edges, and with no other horn player on the session, he has plenty of room to let his solos build and unwind. He does break out a little bit on the group's version of the Lester Young classic "Lester Leaps In," but most cuts, like the title track, have an unhurried, relaxing midtempo shuffle pace, making Desert Winds feel like the aural equivalent of a gentle twilight breeze. The added percussion gets a little distracting on occasion, but overall Jacquet is in fine lyrical form, particularly on the standout track here, a beautiful version of "You're My Thrill" that carries all the breathy romanticism of a classic Ben Webster solo, and is one of Jacquet's finest pieces. An underappreciated and unassuming album, Desert Winds has plenty of easy charm, and while there are no barn-burning solos here, there are plenty of moments of quiet and lyrical joy.~Steve Leggett http://www.allmusic.com/album/desert-winds-mw0000453461

Personnel: Illinois Jacquet (alto saxophone); Kenny Burrell (guitar); Tommy Flanagan (piano); Wendell Marshall (bass guitar); Ray Lucas (drums); Willie Rodriguez (congas, bongos).

Desert Winds

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Angela Bingham & David Halliday - The Night We Called It a Day

Styles: Vocal And Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 57:39
Size: 106,8 MB
Art: Front

(4:31)  1. PS I Love You
(5:15)  2. Born to Be Blue
(7:03)  3. Long John Blues
(5:28)  4. Stars Fell on Alabama
(6:44)  5. Honeysuckle Rose
(6:20)  6. Twisted
(4:57)  7. Scotch 'n' Soda
(4:13)  8. Inutil Paisagem
(6:29)  9. The Night We Called It a Day
(6:34) 10. Someone Else Is Steppin' In

An instant classic, featuring the dynamic jazz duo of Angela Bingham and tenor saxophonist David Halliday with a guitar trio. A fresh take on the straight-ahead jazz tradition of honest expression, solid swinging and an emphasis on the blues.http://www.cdbaby.com/cd/angelabinghamanddavidhal

Personnel: Angela Bingham – voice;  David Halliday - tenor saxophone;  Kenji Aihara – guitar;  Denson Angulo - bass

The Night We Called It a Day

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Tim Hagans with Norrbotten Big Band - Future Miles

Styles:  Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 62:30
Size: 143,4 MB
Art: Front + Back

(4:07)  1. Fanfare For Miles
(9:44)  2. Kickass
(9:14)  3. Kinsey Report
(2:56)  4. Big Gig In Pajala
(9:00)  5. Miles Of The Blues
(9:39)  6. Concrete Hat
(7:55)  7. Future Cool
(9:52)  8. Boogaloo

Tim Hagans, an excellent post-bop-oriented trumpeter, was with the orchestras of Stan Kenton (1974-1977) and Woody Herman (1977), before moving to Sweden (1977-1981) where he played with Sahib Shihab, Ernie Wilkins' Almost Big Band, the Danish Radio Orchestra (which was then directed by Thad Jones), and Dexter Gordon. After returning to the U.S., he taught at the University of Cincinnati and recorded for the local MoPro label. Hagans taught at Berklee (1984-1986), and then in 1986 he started working with Joe Lovano and Fred Hersch. Later, he has made records with Bob Belden, Lovano, Rick Margitza, John Hart, and the Yellowjackets, and has worked with the big bands of Bob Mintzer, Maria Schneider, and the Gil Evans orchestra. Tim Hagans has recorded several Blue Note albums as a leader. ~ Scott Yanow https://itunes.apple.com/nz/artist/tim-hagans/id30511731#fullText

Personnel: Trumpet – Tim Hagans;  Alto Saxophone [Lead], Soprano Saxophone, Flute – Håkan Broström;  Alto Saxophone, Bass Clarinet – Johan Hörlén;  Baritone Saxophone, Flute – Per Moberg;  Bass – Fredrik Jonsson;  Bass Trombone, Tuba – Björn Hängsel;  Drums – Jonas Holgersson;  Keyboards, Programmed By – Scott Kinsey;  Piano – Ion Baciu;  Tenor Saxophone, Clarinet – Bengt Ek;  Tenor Saxophone, Flute – Mats Garberg;  Trombone – Magnus Puls, Peter Dahlgren;  Trombone [Lead] – P-O Svanström;  Trumpet [Lead], Flugelhorn – Bo Strandberg;  Trumpet, Flugelhorn – Dan Johansson (3), Magnus Ekholm, Tapio Maunuvaara

Future Miles

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Stefano Di Battista - Italian Standards

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 54:23
Size: 125,5 MB
Art: Front

(7:08)  1. Attenti al lupo
(5:00)  2. Mille giorni
(6:41)  3. Metti una sera a cena
(8:49)  4. Almeno tu nell'universo
(8:33)  5. Quattro Marzo 1943
(6:19)  6. Quando
(6:24)  7. My suite rose
(5:24)  8. Il mare d'inverno

Italian saxophonist Stefano di Battista has released a trio of albums as a leader, two of which were never issued in the U.S. The third, a U.S. release in 2000 from Blue Note, is self-titled and mainly features di Battista's own compositions. In addition, it includes "Song for Flavia" by Rosario Bonaccorso and a pair of songs by Jacky Terrasson, "Chicago 1987" and "Little Red Ribbon." Both bassist Bonaccorso and pianist Terrasson appear on the album, accompanied by former Coltrane drummer Elvin Jones and trumpeter Flavio Boltro.  Di Battista, a native of Rome who plays both soprano and alto saxophone, took up the instrument when he was 13 to play with some friends from his neighborhood. When he heard recordings by alto saxophonist Art Pepper, he knew the sound of jazz was for him. Later he received guidance from Massimo Urbani, another influential alto saxophonist. By his early twenties, di Battista had begun performing in Paris, thanks to an invitation from Jean-Pierre Como. The two had met during the Calvi Jazz Festival.

Within two years the Italian saxophonist had established himself at the Sunset, a prominent jazz hot spot in the City of Lights. He appeared frequently on the bill with Michel Benita, drummer Stéphane Huchard, and drummer Aldo Romano. From there he proceeded to work as a soloist, which led to associations with such artists as cornetist Nat Adderley, drummers Daniel Humair and Jimmy Cobb, and the late French pianist Michel Petrucciani, among others. Petrucciani invited di Battista into a sextet he was then forming and extended the invitation to include trumpeter Boltro, who frequently accompanied di Battista. Di Battista put out his debut recording as a leader for Label Bleu in 1997. Volare kicked up a lot of attention for the saxophonist and received an award nomination in France. The following year he put out A Prima Vista. The recording of his third album in 2000 so impressed veteran jazz drummer Jones that when the album was finally wrapped up and in the vault, he scooped up di Battista for his Elvin Jones Jazz Machine tour. Di Battista released his second album on Blue Note, the Charlie Parker tribute album Parker's Mood, in 2005.~Linda Seida http://www.allmusic.com/artist/stefano-di-battista-mn0000015276/biography

Italian Standards

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Sarah Vaughan - Sassy Swings The Tivoli Disc 1 And Disc 2

Disc 1

Styles: Jazz, Vocal
Year: 1963
File: MP3@320K/s
Time: 57:35 (Disc 1)
Size: 137,7 MB (Disc 1)
Art: Front

(2:34)  1. I Feel Pretty
(5:56)  2. Misty
(2:04)  3. What Is This Thing Called Love
(5:56)  4. Lover Man
(4:30)  5. Sometimes I'm Happy
(3:14)  6. Won't You Come Home, Bill Bailey
(2:33)  7. Tenderly
(5:40)  8. Sassy's Blues
(4:27)  9. Polka Dots And Moonbeams
(2:20) 10. I Cried For You
(3:12) 11. Poor Butterfly
(2:21) 12. I Could Write A Book
(4:56) 13. Time After Time
(1:43) 14. All Of Me
(3:17) 15. I Hadn't Anyone Till You
(2:46) 16. I Can't Give You Anything But Love

After four years on Roulette, Sarah Vaughan returned to Mercury (her main label of the 1950s) with this wonderful live session, one of her very best of the 1960s. Joined by her rhythm section of the period (pianist Kirk Stuart, bassist Charles Williams and drummer Georges Hughes), Vaughan is quite expressive on such signature tunes as "Misty," "Sometimes I'm Happy," "Tenderly" and "I Cried For You." A gem.~Scott Yanow http://www.allmusic.com/album/sassy-swings-the-tivoli-mw0000652544

Personnel: Sarah Vaughn (vocals); Kirk Stuart (piano); Charles Williams (bass); George Hughes (drums).

Sassy Swings The Tivoli (disc 1)

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Disc 2

Time: 61:32

Size: 146,8 MB

(5:32)  1. I'll Be Seeing You

(5:51)  2. Maria

(2:15)  3. Day In Day Out

(4:39)  4. Fly Me To The Moon

(3:07)  5. Baubles, Bangles And Beads

(2:15)  6. The Lady's In Love With You

(3:14)  7. Honeysuckle Rose

(2:01)  8. What Is This Thing Called Love

(4:06)  9. Lover Man

(2:19) 10. I Cried For You

(5:26) 11. The More I See You

(5:11) 12. Say It Isn't So

(4:40) 13. Black Coffee

(2:33) 14. Just One Of Those Things

(3:04) 15. On Green Dolphine Street

(5:11) 16. Over The Rainbow

Sassy Swings The Tivoli (disc 2)

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John Handy - Handy Dandy Man

Styles:  Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 39:07
Size: 89,8 MB
Art: Front

(5:07)  1. Play the Music (I Feel Like Dancing)
(4:28)  2. Lady Lady
(4:40)  3. Disco Samba
(4:22)  4. Everything You Touch (Turns Into Love)
(5:15)  5. I Gotta Let Her Know (How I Feel)
(4:21)  6. I Can Tell
(3:30)  7. Handy Dandy Man
(4:05)  8. You Live, You Learn
(3:18)  9. Sing to Me

A talented and adventurous altoist whose career has gone through several phases, John Handy started playing alto in 1949. After moving to New York in 1958, he had a fiery period with Charles Mingus (1958-1959) that resulted in several passionate recordings that show off his originality; he also recorded several dates as a leader for Roulette. Handy led his own bands during 1959-1964, and played with Mingus at the 1964 Monterey Jazz Festival, but it was at the following year's festival that he was a major hit, stretching out with his quintet (which included violinist Michael White and guitarist Jerry Hahn) on two long originals. Soon, Handy was signed to Columbia, where he recorded his finest work (three excellent albums) during 1966-1968. Since that time, he has performed world music with Ali Akbar Khan, recorded the R&B hit "Hard Work" for Impulse in 1976, gigged and recorded with Mingus Dynasty, and in the late '80s led a group (called Class) featuring three female violinists who sing. John Handy (no relation to the Dixieland altoist Capt. John Handy) remains a strong soloist who can hit high notes way above his horn's normal register with ease, but he has mostly maintained a low profile, teaching in the San Francisco Bay Area.

~Scott Yanow http://www.allmusic.com/artist/john-handy-mn0000221660/biography

Handy Dandy Man

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Danilo Rea - Notturno

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 50:45
Size: 117,6 MB
Art: Front

(3:12)  1. In The Hall Of The Mountain King
(5:08)  2. Studio Op. 10 n. 3
(3:43)  3. The Man I Love
(5:06)  4. Preludio Op. 28 n. 24
(4:43)  5. Sogno d'amore
(3:55)  6. Sinfonia n. 40 K550
(3:15)  7. A Summer Song For You
(3:55)  8. Corsa della vita
(2:58)  9. Anna e i suoi fratelli
(4:28) 10. Notturno in Mib Op. 9 n. 2
(5:29) 11. Sinfonia n. 3
(4:47) 12. Vento del Nilo

He moved to Rome as a child, he obtained a diploma in piano at the Conservatory of Santa Cecilia , making his debut in 1975 in the jazz music with Enzo Pietropaoli and Roberto Gatto , forming the Trio di Roma .Simultaneously to jazz develops particular interest in music progressive and participates in the formation of the group New Perigee , of which he is the leader and founder bassist Giovanni Tommaso . The New Perigee faced a long tour (seventy concerts in seventy days) along with Rino Gaetano and Riccardo Cocciante , whose testimony is recorded the album called Q Concert .It makes its way into the jazz up to play with some of the greatest American soloists such as Chet Baker , Lee Konitz , John Scofield , Joe Lovano , Art Farmer . In 1989 participates in the work of Roberto De Simone , Requiem for Pier Paolo Pasolini , performed atthe Teatro San Carlo in Naples for the direction of Zoltan Pesko ; in the same year he published together with Roberto Gatto disc Impromptus . In 1997 he creates, with bassist Enzo Pietropaoli and drummer Fabrizio Sferra to Doctor 3, a trio that for a decade the crush of the most important Italian jazz stages. His album The Tales of Doctor 3 was awarded best Italian jazz record in 1998 , while the next jobThe songs remain the same win the title of best jazz record of Music & Records in 1999 .

In Italy there are many his collaborations within the pop , as a pianist of confidence of artists such as Mina , Claudio Baglioni , Pino Daniele and as an occasional collaborator, among others, of Domenico Modugno , Fiorella Mannoia , Riccardo Cocciante , Renato Zero , Gianni Morandi and Adriano Celentano . In 2006 he took part in the Concert for Europe , on ' island of Ventotene , that he is the protagonist along with Baglioni , Nicola Piovani and Luis Bacalov . In the season in 2007 - 2 008 participated in the show Men in tails along with other musicians like Peppe Servillo , Fausto Mesolella , Mimi Ciaramella of Avion Travel , Fabrizio Bosso , Furio Di Castri , Javier Girotto , Gianluca Petrella and Cristiano Calcagno . The show was set up to celebrate the fiftieth anniversary of In the blue painted blue for the occasion, the group performs some songs of Domenico Modugno .His improvisations, ranging on any repertoire, are appreciated during concerts tour which takes in the world and during major jazz festivals.

In 2009 he is one of the 70 guest artists of the double CD of Baglioni, QPGA , where Rea plays the piano in "Centocelle" song. In 2010 he creates the music for the show "Comedy" by and with Giorgio Barberio Corsetti . The videos are Cristian Taraborrelli .On 15 June 2011, together with Paolo Damiani and Rashmi V. Bahtt, at dusk, he improvised a memorable concert on the rooftops of Rome . the entire collection was donated to Emergency , the NPO of Gino Strada .In 2012 he accompanied in some summer evenings Gino Paoli , either alone or with the group consisting of Flavio Boltro ( trumpet ), Rosario Bonaccorso ( bass ) and Roberto Gatto ( drums ), as part of the project meeting in jazz , born in the wake collaboration album Milestones of 2007 .February 21, 2014 participated in the Sanremo Music Festival 2014 always with Paoli , followed by a spring tour.~Translate by google https://it.wikipedia.org/wiki/Danilo_Rea

Personnel:  Piano – Danilo Rea;  Vocals – Oona Rea (tracks: 3, 7, 9, 12)

Notturno

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Brian Blade - Mama Rosa

Styles: Vocal, Guitar And Piano Jazz
File: MP3@320K/s
Year: 2009
Time: 52:18
Size: 120,1 MB
Art: Front

 1. After the Revival - 3:17
 2. Mercy Angel - 4:19
 3. At the Centerline - 4:27
 4. Faithful Brother - 3:27
 5. Get There - 3:22
 6. Second Home - 3:18
 7. You'll Always be My Baby - 5:37
 8. Nature's Law - 2:45
 9. Struggling with That - 3:00
10. All That was Yesterday - 5:58
11. Her Song - 5:26
12. All Gospel Radio - 4:31
13. Paslms 100 - 2:46

After a lengthy gap between records with his Fellowship Band, drummer Brian Blade has stepped up the pace, following up the unmistakable sound of Season of Changes (Verve, 2008) with Mama Rosa. Blade temporarily deserts the folkloric jazz context of his longstanding group, instead delivering a singer/songwriter album that's just as compelling. Different in nature it may be, but in its own way it makes perfect sense for the introspective and deeply spiritual Blade. Blade's always had a penchant for song, even when working in longer form for Fellowship. He closed Perceptual (Blue Note, 2000) with the gentle "Trembling," his debut as a singer and invited Joni Mitchell to sing on the more dramatic "Steadfast." Both tracks drew a clear line from Blade's more expansive, jazz-centric writing and a penchant for simple melody and articulating his feelings with words as well as music.

Blade has grown considerably as a singer/songwriter since then, though the spirit of Mitchell with whom Blade toured and recorded looms large, especially on the opening title track, where his open-tuned guitar alludes to Mitchell's own open harmonies. Blade's subject material is far more religious in nature, however, though his faith is personal and far from proselytizing. Daniel Lanois the well-known producer and singer/songwriter plays a supporting instrumental role throughout half of Mama Rosa; his tremolo'd electric guitar a soothing, defining texture on the slightly more up-tempo "Mercy Angel," where he also delivers a moving, lyrical solo. "At the Centerline" incorporates the enduring "Serenity Prayer" ("God grant me the serenity to accept the things I cannot change; courage to change the things I can; and wisdom to know the difference.") before Blade expands on its elegantly simple philosophy with a more complex song that, structurally, provides a strong link between the music of Mama Rosa and that of the Fellowship Band, as does the equally detailed yet smoothly flowing "Faithful Brother." Blade's unassuming and unaffected voice, with its subtle vibrato, brings passionate understatement to lyrics that deal with matters both corporeal and less grounded, always remaining truthful and honest to the core.

With guests including Fellowship's Jon Cowherd (keyboards), Chris Thomas (bass), and Kurt Rosenwinkel (guitar), there's enough harmonic sophistication, even on the relatively straightforward "Get There," to contextualize Blade's the singer/songwriter with Blade the jazz composer and improvising player. It's all part of one continuum, with Mama Rosa simply occupying a different place than Season of Changes or Perceptual. After 11 calming, tender songs, Blade ends the album with two brief soundscapes, in collaboration with Adam Samuels and Tucker Martine. Celestial and ethereal, both "All Gospel Radio" and "Psalms 100" reflect, in pure sound, the same spirituality reflected in Blade's words throughout Mama Rosa an album that may come as unexpected for some, but for those who have followed Blade's career closely, will come as no surprise at all.~John Kelman http://www.allaboutjazz.com/mama-rosa-brian-blade-verve-music-group-review-by-john-kelman.php

Personnel: Brian Blade: lead vocals, guitar, piano (2, 5, 7, 11, 13), drums (2, 3, 5, 7, 9, 11); Daniel Lanois: guitar soloist (2, 3, 7, 10, 11), pedal steel guitar (7); bass (2, 5), harmony vocal (11); Geoffrey Moore: guitar (1, 3), nylong string guitar (4); Kurt Rosenwinkel: guitar (4); Greg Liesz: pedal steel guitar (6); lap steel guitar and weissenborn (9); Patrick Smith: pedal steel guitar (11); Jon Cowherd: piano (3, 4), pump organ (3); Aaron Embry: piano (1); Chris Thomas: bass (1, 3, 4, 6); Jenny Lee Lindberg: bass (9); Dave Coleman: MXR operator (9); Adam Samuels: processing (12, 13); Tucker Martine: processing (13); Kelly Jones: harmony vocals (2, 5, 10); Daryl Johnson: harmony vocal (7, 11); Silverlake Male Chorus (3): John Bigham, Daryl Johnson, Aaron Embry, Rocco Deluca.

Mama Rosa

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Dusko Goykovich & Scott Hamilton - Second Time Around

Size: 150,3 MB
Time: 65:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. A Baptist Beat (7:08)
02. Recado Bossa Nova (8:46)
03. You're My Everything (5:27)
04. Lotus Blossom (6:54)
05. I Fall In Love Too Easily (5:52)
06. Blues For Gianni B (8:30)
07. Pra Machucar Meu Coracao (6:49)
08. Love For Sale (7:38)
09. Juicy Lucy (7:52)

A follow up from ‘Tight But Loose’ also on Organic Music, the album ‘Second Time Around’ is a quintessential cool jazz album. Velvet music with a blend of tone and style which is elegant, mellow and hot!. This kind of recordings had, have and will have an enduring allure to any jazz fan. Dusko & Scott have produced a truly magical album from beginning to end!

Personnel:
Dusko Goykovich - trumpet (tracks: 1 to 6, 8, 9)
Scott Hamilton - tenor saxophone (tracks: 1 to 4, 6 to 9)
Bernhard Pichl - piano
Rudi Engel - bass
Michael Keul - drums

Second Time Around

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Claire Martin & Ray Gelato - We've Got A World That Swings

Size: 107,3 MB
Time: 45:48
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. We've Got A World That Swings (3:15)
02. This Could Be The Start Of Something Big (2:26)
03. Now Baby Or Never (4:03)
04. More Than You Know (5:53)
05. C'est Si Bon! (4:22)
06. A Swingin' Affair (2:03)
07. All I Do Is Dream Of You (3:36)
08. Come Dance With Me (4:13)
09. The Coffee Song (3:25)
10. Ornithology (3:49)
11. You Came A Long Way From St. Louis (3:03)
12. Something's Gotta Give (2:20)
13. Smack Dab In The Middle (3:15)

'We've Got A World That Swings' is a brand new album collaboration between the UK's premier jazz singer, CLAIRE MARTIN and saxophonist/vocalist/bandleader RAY GELATO and over 13 tracks, the pair pay an unashamed homage to the beauty of swing.

Claire and Ray first worked together 20 years ago, but more recently they went on the road together presenting a live show that wowed packed houses with their interpretations of some of the best tunes from The Great American Songbook. The logical end to the tour was to record a complementary album... and the set, 'We've Got A World That Swings', hits the sales racks on May 20th.

On the album the duo are backed by an all-star trio - David Newton (piano), Dave Whitford (bass) and Sebastian de Krom (drums) and between them and Ray and Claire they find freshness and vitality in familiar material - songs like 'Come Dance With Me', 'The Coffee Song', 'Something's Gotta Give' and Charlie Parker's 'Ornithology'. The album's only original is Ray's own 'A Swinging Affair' and it proves why the legendary jazzer is nicknamed 'The Godfather of Swing' (and why Paul McCartney chose him to play at his wedding!)

We've Got A World That Swings  

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Kitty LaRoar, Ed Jones & Nick Shankland - Valentine's Eve

Size: 110,5 MB
Time: 47:31
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Last Year's Valentine (4:14)
02. I Only Have Eyes For You (6:10)
03. Love Is All (5:57)
04. I'm In The Mood For Love (5:21)
05. In A Sentimental Mood (6:26)
06. Seventh Heaven (4:32)
07. The Nearness Of You (5:34)
08. My Funny Valentine (5:03)
09. Tender Tonight (4:10)

The album kicks off with Shankland’s self-penned ‘Last Year’s Valentine’ with a cool intro from piano, followed by sax with the vocals entering over a swingy, rolling beat. The arrangement is balanced and creates a dialogue between the voice and tenor sax as the story of the song unfolds. A gorgeous, breathy sax solo echoes the beautiful, sensual vocals and is woven around the intricacies of Shankland’s playful piano. The second number is Warren/Dubin’s ‘I Only Have Eyes For You’. Given this was written in 1934 and has been covered by luminaries such as Art Garfunkel and Peggy Lee, this has a retro feel and is sung with emotion and feeling. Kitty draws back some of the longer notes to add a sense of tongue in cheek quirkiness which off-sets the somewhat over sweet lyrics. A great interpretation with the sax soaring under, over and around the vocals and a lovely sax and piano echoed theme introduced as a middle section making this song so much more than the short, trite song it could be. Given the trio’s treatment it becomes much more than that, even with a little Bacharach/David’s ‘Alfie’ thrown in and a vocalese part added for good measure. Shankland/Tucker’s ‘Love Is All’ is cool, collected but by no means calm. There is a brooding drama about this piece which introduces a different mood and shows off the explorative essence of the trio. The three musicians each have a complex part and the trick is in how they weave around each other. Crafted around the piano chords, it is clever and atmospheric.

Then comes McHugh/Fields’ ‘I’m in the Mood For Love’. Slowed down, sexed up and verging on downright sleazy, this is wonderful and makes a great contrast with the preceding piece. As expected, the trio make the song their own, adding little nuances, an arrangement madder than a box of frogs and produce something which just makes you smile. Shankland’s piano solo is a delight as his fingers trickle their way up and down the keys. You think you know this song – but that was until this lot gotta hold of it. The fifth track is Ellington/Kurtz’s ‘In A Sentimental Mood’. The playing arrangement here is reminiscent of Ellington/Coltrane’s collaborations on this song but of course with a twist which is all the trio’s own. The vocals come in over the piano which introduces the song. Vocally, this is possibly the highlight of the CD as Kitty eases up to the high notes and makes the melody speak to the listener, pouring emotion into the words. Ed Jones’ sax gives the listener a lesson on how to interpret good music and make it great. Lovely.

Shankland’s ‘Seventh Heaven’ is a story of love, expectation and tenderness, sang with emotion and cleverly arranged around the three musicians, giving each a vehicle on which to shine. Carmichael/Washington’s ‘The Nearness of You’ is a gorgeous song and conveyed in beautiful fashion. Kitty, with her expressive, sultry vocals, is well suited to this song and boy, does she deliver. A terrific interpretation of this number. Rodgers/Hart’s ‘My Funny Valentine’ is the penultimate track and introduced by tenor and piano, over which Kitty enters with the familiar song made new by the trio’s interpretation and some magnificent support from the piano. Jones’ sax once again provides an excellent solo and interpretive playing. Harrison’s ‘Tender Tonight’ is the final track and a great way to end the CD with an up-beat, lilting song, perfectly suited to Kitty’s voice and personality with that controlled slurring playfulness she can do so well.

What comes across loud and clear is the careful choice of material, the clever way each musician is used, and the generous arrangements which allow each to soar or support as appropriate. The stories are told, with emphasis, emotion and a development which shows respect for the music itself.

I have heard earlier recordings of Kitty and Nick. I have also seen them live and they are exciting not only because of the quality they deliver but because of the on-going stylistic maturing and gelling happening in their music.

This Cd was recorded at Quiet Money Studios, the South Coast Studio of Four times Grammy Nominated and Classical Brit Award winning Producer and Musician, James McMillan and the production is pretty much on the ball. It captures everything – the breathiness of the vocals and sax at times, the fading of some of the longer notes and the constant driven rhythm of the piano. Yet that is what makes this a great CD because it is as it is, artisan with little tweaking or over production. Kitty’s voice is maturing and she has the timbre of a practiced and careful jazz songstress, yet there is a sense of more to come. Nick’s piano is, as ever, consistent, clever and totally in tune with the different numbers and Ed Jones’ sax positively comes into its own. Ed has been around for some time and is a terrific sax player. Here he soars- and is given the space to do so with the generous inventions of the arrangements. Good call. With this album there is a sense of development in the music and that the musicians are finally finding their true ground, particularly Kitty with her vocals. There is a familiarity in the formatting but this is fine and the standards covered work but the self-penned numbers stand out in term of arrangement, whispering possibilities of only better to come. This trio work together, they create music which is familiar yet quirky and individual so, put your hat on, warm up your ears and settle down for some really cool, interesting listening.

Valentine's Eve

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Joan Chamorro - Joan Chamorro Presenta Joan Mar Sauque

Size: 147,6 MB
Time: 63:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, Vocals
Art: Front

01. Con Alma (5:08)
02. Ocells De Cendra (3:22)
03. Sail Away (Feat. Andrea Motis) (8:30)
04. Lotus Blossom (4:01)
05. Tenderly (Feat. Magalí Datzira) (5:51)
06. Motel (4:57)
07. Polka Dots And Moonbeams (5:29)
08. A Felicidade (Feat. Andrea Motis) (4:55)
09. Sometime Ago (Feat. Rita Payes) (2:58)
10. Bossa Nova Ova (4:26)
11. If I Should Lose You (4:40)
12. Boperation (Feat. Sant Andreu Jazz Band) (6:03)
13. Blues Op.1 (2:54)

“Joan Mar Sauqué is a solid trumpeter, able to lead with solvency a big band trumpets section, and he is also a soloist always with fresh ideas, with a great capacity for melodic creation, a blend of tradition and modernity, based on listening to the big ones like Tom Harrell, Kenny Dorham or Freddie Hubbard. And the best of all is that his progression is rising and unstoppable.”

“We can hear his evolution in his contributions as a soloist in the last CDs of the Sant Andreu Jazz Band, among which are its beautiful solo on the theme Moody’s Mood for Love, on Jazzing 5, or his several solos in the new Jazzing 6, which has seen the light this year, 2016.” –Joan Chamorro

Joan Chamorro Presenta Joan Mar Sauque

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Gerry Mulligan - Jeru

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 37:27
Size: 86,5 MB
Art: Front

(5:56)  1. Capricious
(5:07)  2. Here I'll Stay
(5:42)  3. Inside Impromptu
(5:49)  4. You've Come Home
(4:19)  5. Get Out Of Town
(4:45)  6. Blue Boy
(5:46)  7. Lonely Town

While Gerry Mulligan was famous in the 1950s for leading pianoless quartets, he never had anything against pianists; in fact he often played piano himself. This 1962 quintet session finds Jeru utilizing the strong talents of pianist Tommy Flanagan along with bassist Ben Tucker, drummer Dave Bailey, and the congas of Alec Dorsey to play seven songs (all but "Get Out of Town" are somewhat obscure). Mulligan is in fine form and, even if the music on this LP is not all that essential, it is quite enjoyable.~Scott Yanow http://www.allmusic.com/album/jeru-mw0000487432

Personnel:  Gerry Mulligan - baritone saxophone;  Tommy Flanagan – piano;  Ben Tucker – bass;  Dave Bailey – drums;  Alec Dorsey - congas

Jeru

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Rebecca Kilgore - Jump Presents Rebecca Kilgore

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 69:59
Size: 169,8 MB
Art: Front

 1. You're Driving Me Crazy - 4:37
 2. The Five O'Clock Whistle - 3:53
 3. 'Tis Autumn - 5:27
 4. Ain'T We Got Fun? - 3:29
 5. A Handful Of Stars - 3:06
 6. Don'Cha Go 'Way Mad - 3:35
 7. Just You, Just Me - 3:22
 8. Very Good Advice - 2:36
 9. I'Ll Build A Stairway To Paradise - 4:17
10. My Future Just Passed - 5:07
11. Rock Me To Sleep - 4:18
12. Till There Was You - 3:50
13. He's My Guy - 3:23
14. It Happened Monterey - 3:57
15. Robins And Roses - 3:53
16. You'Re Mine, You! - 2:49
17. Into Each Life Some Rain Must Fall - 4:20
18. I'm Checkin' Out, Goom Bye - 3:49

As an interpreter of classic American popular songs from the 1930s and 1940s, vocalist and guitarist Rebecca Kilgore helped revive the hits of yesterday for modern-era jazz audiences. Born in Waltham, MA, in 1949, she relocated to Portland, OR, at the age of 30, beginning her music career fronting an area swing band dubbed the Wholly Cats and recording a 1982 LP titled Doggin' Around. Following the group's 1984 breakup, she formed her own unit, the Rebecca Kilgore Quintet, which quickly emerged as a mainstay of the Northwest jazz scene, and in 1989, she released the cassette-only I Hear Music. Most of Kilgore's subsequent recordings were in conjunction with other performers: In 1990, she teamed with John Miller for Put on a Happy Face, and in 1993 appeared with Portland's Tall Jazz Trio on their Plays Winter Jazz disc. However, Kilgore's most fruitful collaborations were in conjunction with pianist Dave Frishberg; after teaming for 1993's Looking at You, they reunited a year later for I Saw Stars, followed in 1997 by Not a Care in the World and again in 2001 with The Starlit Hour. At the same time, Kilgore also fronted a '60s-style country band, Beck-a-Roo, and in 1994 contributed vocals to the score of the CBS animated special Tales From the Far Side, inspired by the popular Gary Larson comic strip.~Jason Ankeny http://www.allmusic.com/artist/rebecca-kilgore-mn0000870355/biography

Personnel includes: Rebecca Kilgore (vocals); Dan Barrett, Keith Ingham, Bob Reitmeier.

Jump Presents Rebecca Kilgore

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Matt Dennis - Plays And Sings

Styles: Vocal And Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 32:03
Size: 74,0 MB
Art: Front

 1. Will You Still Be Mine? - 2:40
 2. Junior And Julie - 2:39
 3. The Night We Called It a Day - 2:26
 4. We Belong Together - 2:33
 5. Angel Eyes - 3:07
 6. Violets For Your Furs - 2:35
 7. Everything Happens to Me - 3:07
 8. Compared to You - 3:01
 9. That Tired Routine Called Love - 2:17
10. It Wasn't the Stars That Thrilled Me - 2:46
11. When You Love a Fella - 2:27
12. Let's Get Away from It All - 2:20

Recorded at the Tally-Ho in Hollywood, Matt Dennis Plays and Sings Matt Dennis is a program of what visitors to his supper-club sets could expect from one of the best lounge singers in an era before the term became a dirty word. Accompanying himself on the piano with bass and drums for backing, Dennis sings 12 of his own tunes, including an avalanche of standards "Will You Still Be Mine," "The Night We Called It a Day," "Angel Eyes," "Violets for Your Furs," "Everything Happens to Me," and "Let's Get Away from It All." Though his voice doesn't quite match his notable composing skills, Dennis uses his narrow range and soft, high-tenor tone to craft a sensitive vocal style. His deft sense of humor also comes in handy during several hilarious offsides to the audience and listener, often in the middle of a line. Virgina Maxey duets with him on "We Belong Together" and "When You Love a Fella."~John Bush http://www.allmusic.com/album/plays-and-sings-matt-dennis-mw0000313635

Plays And Sings

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Françoiz Breut - Une Saison Volée

Styles: Vocal
Year: 2005
File: MP3@256K/s
Time: 50:15
Size: 92,7 MB
Art: Front

 1. Intro - 1:04
 2. La Certitude - 4:37
 3. Over All - 4:44
 4. Le Ravin - 2:51
 5. La Vie Devant Soi - 3:08
 6. Tambours - 0:13
 7. Ultimo - 2:41
 8. Km 83 - 5:19
 9. Sur Le Balcon - 1:03
10. Une Ville Allongée Sur Le Dos - 4:27
11. La Boîte De Nuit - 3:39
12. Please Be Angry - 4:05
13. Ciudad Del Mar - 4:22
14. Le Premier Bonheur Du Jour - 3:28
15. Contourne-Moi - 4:26

Following in the fine downbeat Gallic pop tradition laid down by Serg‚ Gainsbourg, Françoise Hardy & France Gall, Warner releases Fran‡oiz Breut's third album, Une Sason Volee (which translates to 'One Stolen Season'). Brought up in Cherbourg, Françoiz's early musical influences were gleaned from her sister's vast vinyl collection & some late nights in bed with John Peel (c'mon, the radio show!) After leaving school, she started singing in a cover band doing versions of The Kinks & X-Ray Spex. During this time she met & fell in love with Dominique A. (now a huge star in France). She accompanied him on stage for 3 years & sang backing vocals on his album 'Twenty-Two Bar'. Then towards the end of 1996 she realised she wanted to do something for herself. Working with Dominique, this sad elegant music slowly begun to evolve. 

There's a subtle feminine edge to her songs; and with the cool brushes of Sacha Toorop evoking a 50's jazz feel & the Hammond organ & slide guitar of Dominique A., a poignant canvas for Fran‡oiz's captivating vocals is formed. Think Nico's 'Chelsea Girl' and Lee Hazelwood's 'Requiem For An Almost Lady.' Warner. 2005.~Editorial Reviews http://www.amazon.com/Une-Saison-Volee-Francoiz-Breut/dp/B0007GB9M0

Une Saison Volée

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