Shawn Colvin - Playlist: The Very Best Of Shawn Colvin

Bitrate: MP3@320K/s
Time: 60:03
Size: 137.5 MB
Styles: Alternative pop/rock
Year: 2012
Art: Front

[4:43] 1. Round Of Blues
[4:23] 2. Sunny Came Home
[4:59] 3. Steady On
[4:14] 4. Get Out Of This House
[4:13] 5. You And The Mona Lisa
[3:33] 6. Heart Of Saturday Night
[4:20] 7. Diamond In The Rough
[3:44] 8. Another Long One
[3:59] 9. Whole New You
[5:51] 10. Polaroids
[5:05] 11. A Matter Of Minutes
[4:13] 12. Climb On (A Back That's Strong)
[4:08] 13. Someone Like You
[2:31] 14. Rocking

Just one track shorter than 2004's excellent Polaroids: A Greatest Hits Collection, Playlist: The Very Best of Shawn Colvin, despite the omission of one of the Grammy-winning singer/songwriter's best-known hits in "I Don't Know Why," serves as a solid introduction to Colvin's work, boasting enough notable tracks like "Round of Blues, "Sunny Came Home," "Steady On," and "Get Out of This House" to warrant equal consideration from both newbies and longtime fans looking for a lean career overview. ~James Christopher Monger

Playlist: The Very Best Of Shawn Colvin

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Jon Mayer - Full Circle

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 56:50
Size: 130,7 MB
Art: Front

(5:30)  1. Round up the Usual Suspects
(5:37)  2. Night And Day
(7:02)  3. Day Dream
(4:43)  4. For All We Know
(4:54)  5. From Now On
(6:35)  6. Full Circle
(7:09)  7. Stolen Moments
(4:48)  8. Falling In Love With Love
(3:07)  9. Lament
(7:21) 10. I Should Care

Veteran New York musician Jon Mayer debuts on Reservoir Records with a balmy trio set that takes full advantage of Mr. Mayer's experience as a hard bop pianist. Mr. Mayer's credentials are impressive. In the early to mid 1950s, Mayer performed with Pete LaRoca and Ray Draper before moving on to Kenny Dorman's big band and then replacing Bill Evans in clarinetist Tony Scott's quartet. He went on to record with Jackie McLean, John Coltrane, and Les McCann. Mr. Mayer arrives here with Full Circle, his follow-up to the well-received Rip Van Winkle: Live at the Jazz Bakery (Fresh sound 5027, 1998). Full Circle opens on the hot side with Mayer's own "Round Up the Usual Suspects." This is followed by a tense "Night and Day," highlighting Mayer's block approach to melody. Mr. Mayer covers Oliver Nelson's brilliant "Stolen Moments" with great care and respect, all the while injecting this gold standard with humor and grace. The disc ends with a humidly pensive "I Should Care," preceded by an impressionistic take on J.J. Johnson's "Lament." Full Circle marks the return of Jon Mayer to New York. He allied himself with the bionic rhythm section of Rufus Reid and victor Lewis, both of whom provided a perfect backdrop to Mayer's pianistic statements. More than a decent trio recording, Full Circle deserves a long look as it surfaces from the sea of current trio offerings. 

~ C.Michael Bailey https://www.allaboutjazz.com/full-circle-jon-mayer-reservoir-music-review-by-c-michael-bailey.php

Personnel: Jon Mayer- piano; Rufus Reid - bass; Victor Lewis - drums.

Full Circle

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Jackie Allen - Tangled

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 49:30
Size: 113,9 MB
Art: Front

(5:51)  1. When Will I Ever Learn
(3:42)  2. Coal Grey Eyes
(4:17)  3. You're Nearer
(3:26)  4. If I Had (Angel's Lullaby)
(4:25)  5. Tangled
(4:03)  6. Slip
(5:05)  7. You'll Never Learn
(3:36)  8. Everything I've Got Belongs To You
(3:45)  9. Hot Stone Soup
(3:16) 10. Do Wrong Shoes
(5:03) 11. Solitary Moon
(2:56) 12. Living Without You

While it's clearly a pop album, Tangled has a light, jazzy feel. John Moulder's smooth jazz guitar, Steve Eisen's gentle flute and several keyboards back up Jackie Allen's lovely voice with an easy-to-like ambience. Allen delivers an expressive, convincing session. The singer uses her voice, whispery and coated with smooth silk, to interpret this program with a relaxed ease and subtle passion. Allen leaves an enjoyable wake behind every song. Her eighth album, both contemporary and filled with an appreciation for personal forms of communication, is designed for broad audience appeal. Tangled, Allen's title song, features dramatic electric guitar and a deep blues sensation. "If I Had floats on a gentle bossa breeze, while "You're Nearer emphasizes the dramatic qualities of her expressive voice.

A vocalist should be comfortable with folk, country, pop, blues and jazz. With Tangled, we get a little bit of each. Slip features electric piano and a horn section in a soulful strut. "Hot Stone Soup and "Cold Grey Eyes provide reflections of New Age themes. Donald Fagen's "Do Wrong Shoes, the album's best track, provides an opportunity for Allen to swing. As Randy Newman's "Living Without You closes the program with a country & western feel, you can't help absorbing Jackie Allen's emotional pull. She gives her audience a personal reflection of her inner soul that everyone can enjoy. ~ Jim Santella https://www.allaboutjazz.com/tangled-jackie-allen-blue-note-records-review-by-jim-santella.php

Personnel: Jackie Allen: vocals; Steve Eisen: flute, tenor saxophone; Orbert Davis, trumpet; John Molder, guitar; Ben Lewis, piano, electric piano, organ; Laurence Hobgood, piano, electric piano; Hans Sturm, bass; Dane Richeson, drums, percussion; Yvonne Gage, Eric Hochberg, Suzanne Palmer, Sue Conway: background vocals.

Tangled

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Bobby Caldwell - What You Won't Do for Love

Styles: Vocal And Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 34:45
Size: 79,7 MB
Art: Front

(3:35)  1. Special To Me
(4:16)  2. My Flame
(4:12)  3. Love Won't Wait
(5:07)  4. Can't Say Goodbye
(2:57)  5. Come To Me
(4:50)  6. What You Won't Do For Love
(1:23)  7. Kalimba Song
(3:32)  8. Take Me Back To Then
(4:50)  9. Down For The Third Time

Bobby Caldwell is one of only a handful of white vocalists (Van Morrison and Simply Red's Mick Hucknall, to name a couple more) who legitimately transcended the blue-eyed soul tag. Caldwell's genuine mix of R&B and jazz signatures as well as his bittersweet yet buttery vocal tones conjure up images of a smoothed-out version of Chet Baker. On this, his breakthrough album, the native New Yorker scored a hit with the timeless "What You Won't Do for Love" and also polished off another near-classic on "My Flame." While a few of the compositions echo the dying grip of disco and some of Caldwell's vocal arrangements sound more like a hipper version of Tony Bennett ("Can't Say Goodbye"), the crooner does possess the pipes to carry the offering. Caldwell even tries his hand at the experimental on the short but sweet instrumental "Kalimba Song." Time will likely render much of Bobby Caldwell disposable, but at the album's best, the songs do carry a singular sound and contain the power to place themselves in a time period, which may just be good enough for lovers. The cut "What You Won't Do for Love" will always stack up, as even hip-hop producers saw fit to sample the horn riff and bass track a number of times (listen to 2Pac's "Do for Love," for one). ~ M.F. DiBella  http://www.cduniverse.com/productinfo.asp?pid=1067131&style=music&fulldesc=T

Personnel: Bobby Caldwell (vocals, guitar, keyboards, synthesizer, vibraphone, bass, drums); Alfons Kettner, Steve Mealy (guitar); Chris Colclessor (clarinet, saxophone); Gary Lindsay (clarinet); Mike Lewis, Mark Colby (saxophone); Jeffrey Kievet, Hollis Burridge (trumpet, flugelhorn); James Marshall (trombone); Benny Latimore, Bruce Malament (keyboards); George "Chocolate" Perry, Richie Valesquez, John Paulus (bass); Ed Greene, Joe Galdo, Harold Seay, Andy Newmark (drums).

What You Won't Do for Love

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Corey Christiansen - Factory Girl

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 48:54
Size: 112,4 MB
Art: Front

(7:14)  1. She's Gone
(5:33)  2. Cluck Ol' Hen
(5:03)  3. Shenandoah
(4:52)  4. Factory Girl
(2:21)  5. That I Should Know Your Face
(5:25)  6. John Hardy
(5:07)  7. Old Joe Clark
(6:02)  8. One's Promised
(7:14)  9. Beour

Guitarist Corey Christiansen began his stint at Origin Records in 2008 with a top notch organ jazz outing, Roll With It. He followed that with an equally engaging disc featuring the same players, Outlaw Tractor on the label in 2010. On these two dates, Christensen and his superb band worked the soul jazz groove typical of the B3 organ genre, featuring a breezy dynamic with superb displays of technique all around, and lots of room for the guitarist's inspired guitar ruminations to ride the waves of the tight rhythms. Christensen's follow-up to his organ jazz CDs took another path. Lone Prairie (Origin Records, 2013), proved perhaps an unexpected turn (for those getting interested in his organ jazz foray) into the traditional music of the American West, with a postmodern bent. He dives deeper with Factory Girl. It's sort of "Americana," in the Bill Frisell mode; but like Frisell, Christiansen has a personal vision with a fine focus, and an eye tuned straight into the 'now." Even the familiar "Shenandoah" shines with a new millennium shimmer. 

Zach Lapidus, reprising his keyboard roll from Lone Prairie, is instrumental in buffering, subtly, the muted neon glow of the disc's sound. The set features, along with the traditional, three tunes from Christiansen's pen that fit the mold. The opener, "She's Gone," is instantly engaging, a robust and patiently laid out melody weaving in and out of an intricate rhythm. "One's Promise," is as gentle as a lullaby, pastoral and pretty and soothing. The overall "sound" of this album can't be overlooked. Bassist Jeremy Allen and drummer Matt Jorgensen, along with keyboardist/SuperCollider-weilder Zach Lapidus, and, occasionally, percolating percussionist Michael Spiro, lay the foundation rock solid but still intricate and virtuosic beyond the precursor music that Factory Girl brings to mind: the reverberant twang of Duane Eddy, the echoing atmosphere of The Ventures' 1960 hit, "Walk Don't Run," the coolness of Dick Dale and the Deltones' "Miserloo" (1963)," the fluid group dynamic of Merle Haggard's late career band, The Chantay's epic "Pipeline" from 1963, any number of good time cowboy bands all of it dialed up, somewhat avant-style, into a new century. ~ Dan McClenaghan https://www.allaboutjazz.com/factory-girl-corey-christiansen-origin-records-review-by-dan-mcclenaghan.php
 

Personnel:  Corey Christiansen: guitars;  Zach Lapidus: keyboards, SuperCollider;  Jeremy Allen: acoustic and electric bass;  Matt Jorgensen: drums;  Michael Spiro: percussion.

Factory Girl

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Ray Charles - The Genius Of Ray Charles

Bitrate: MP3@320K/s
Time: 37:53
Size: 86.7 MB
Styles: R&B, Soul, Urban blues
Year: 1959/2005
Art: Front

[2:50] 1. Let The Good Times Roll
[2:41] 2. It Had To Be You
[2:50] 3. Alexander's Ragtime Band
[3:21] 4. Two Years Of Torture
[2:46] 5. When Your Lover Has Gone
[2:24] 6. Deed I Do
[3:22] 7. Just For A Thrill
[3:17] 8. You Won't Let Me Go
[3:21] 9. Tell Me You'll Wait For Me
[3:41] 10. Don't Let The Sun Catch You Cryin'
[3:36] 11. Am I Blue
[3:39] 12. Come Rain Or Come Shine

Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including "Come Rain or Come Shine" and "Don't Let the Sun Catch You Cryin'"). Charles' voice is heard throughout in peak form, giving soul to even the veteran standards. ~Scott Yanow

The Genius Of Ray Charles

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Paul Bollenback - Dreams

Bitrate: MP3@320K/s
Time: 62:31
Size: 143.1 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[8:10] 1. Estate
[8:31] 2. I Fall In Love Too Easily
[7:49] 3. Taining In
[8:13] 4. Attainment
[7:55] 5. The Summer Knows
[5:34] 6. To Take Away Your Tears
[6:43] 7. Chance
[2:45] 8. Dreams
[6:47] 9. Wild Horses

Bass – Ray Drummond; Drums – Jeff "Tain" Watts; Guitar – Paul Bollenback; Vibraphone – Joe Locke.

Paul Bollenback's fourth CD for Challenge is a mostly trio affair with bassist Ray Drummond and drummer Jeff "Tain" Watts. The influence of John Scofield is immediately obvious, though Bollenback's style is much less jagged and more melodic. The opening track, "Estate," adds vibraphonist Joe Locke in an arrangement that begins as a dreamy duet by the two before switching to a more pensive setting with the addition of Drummond and Watts. His lively upbeat take of the old standard "I Fall in Love Too Easily" contrasts with the usual maudlin interpretations, while his addition of a march-like cadence to Michel Legrand's "The Summer Knows" (the theme from the film Summer of '42) removes the typically pensive and often overly dramatic air of this well-known song. Usually attempts to play the music of the Rolling Stones in a jazz setting have been miserable failures, but Bollenback's soft imaginative take, with a shift to a Latin rhythm, is the happy exception to the rule. The leader also contributed a trio of originals to the date, including the edgy blues "Taining In." It's obvious that Bollenback put a lot of thought into his arrangements for this release; as a result, this is a disc which will not only stand up to the test of time but reveal new facets after repeated hearings. ~Ken Dryden

Dreams

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Betty Bennett - Vocal & Jazz Essentials

Bitrate: MP3@320K/s
Time: 36:42
Size: 84.0 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[3:34] 1. Nobody Else But Me
[3:16] 2. This Is The Moment
[2:31] 3. Mountain Greenery
[2:46] 4. You Took Advantage Of Me
[2:53] 5. Island In The West Indies
[2:46] 6. Treat Me Rough
[3:23] 7. My Man's Gone Now
[3:10] 8. The Next Time I Care
[3:24] 9. Tomorrow Mountain
[2:49] 10. You're Driving Me Crazy
[2:30] 11. Sidewalks Of Cuba
[3:35] 12. Have Yourself A Merry Little Christmas

An experienced, sometimes sultry singer, Betty Bennett also studied piano while attending Drake University. She sang with Georgie Auld in 1943, then performed in a number of bands after completing time in the navy in 1945. These included orchestras led by Claude Thornhill, Alvino Rey, Charlie Ventura, Woody Herman, Charlie Barnet and Stan Kenton. She married Andre Previn in the mid-'50s, made two recordings with him directing. She later divorced Previn and married Mundell Lowe. By the late '80s she was touring Europe with Lowe, and was a featured performer for opening night of Wolsey's club in London. ~ bio by Ron Wynn

Vocal & Jazz Essentials

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Ben Webster - See You At The Fair

Bitrate: MP3@320K/s
Time: 49:01
Size: 112.2 MB
Styles: Saxophone jazz
Year: 1964/2009
Art: Front

[4:27] 1. Someone To Watch Over Me
[4:24] 2. In A Mellow Tone
[4:40] 3. Over The Rainbow
[2:46] 4. Love Is Here To Stay
[3:20] 5. The Single Petal Of A Rose
[6:12] 6. See You At The Fair
[2:24] 7. Stardust
[2:44] 8. Fall Of Love
[2:46] 9. While We're Dancing
[3:01] 10. Lullaby Of Jazzland
[4:03] 11. Midnight Blue
[8:09] 12. Blues For Mr. Broadway

Ben Webster's final American recording was one of his greatest. At 55, the tenor saxophonist was still very much in his prime but considered out of style in the U.S. He would soon permanently move to Europe where he was better appreciated. This CD has the nine selections originally included on the LP of the same name, a quartet set with either Hank Jones or Roger Kellaway on piano, bassist Richard Davis, and drummer Osie Johnson. Webster's tone has rarely sounded more beautiful than on "Someone to Watch Over Me" and "Our Love Is Here to Stay." In addition, one song from the same session (but originally released on a sampler) and two tunes featuring Webster on an Oliver Nelson date (More Blues and the Abstract Truth) wrap up this definitive CD. ~Scott Yanow

See You At The Fair

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Michael Brecker - Tales From The Hudson

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 60:26
Size: 142,1 MB
Art: Front

(6:20)  1. Slings And Arrows
(7:18)  2. Midnight Voyage
(5:45)  3. Song For Bilbao
(7:38)  4. Beau Rivage
(8:13)  5. African Skies
(1:13)  6. Introduction To Naked Soul
(8:45)  7. Naked Soul
(8:13)  8. Willie T.
(6:59)  9. Cabin Fever

In the crowded field of excellent tenor players, Michael Brecker rises to the top of my list. I think the thing that gives Brecker an edge over the others is the fact that he is a master of so many genres of jazz. Many people are no doubt familiar with the electric, funky side of Michael Brecker as the co-leader of the Brecker Brothers and former member of Steps Ahead. He has done significant pop dates with Paul Simon, Carly Simon, and Joni Mitchell. One could easily fill a CD collection with albums on which he has performed as a sideman in many jazz contexts. Yet this is only his fourth CD as a leader. All of them have been in the modern, progressive, straight-ahead jazz vein. This one is, to my ears, his most successful outing yet. I think the difference is that this one is a little less "progressive" or "outside." The melodies here are a little more accessible and memorable, yet the soloing is just as creative and adventuresome as we have come to expect from Brecker and the other jazz luminaries on this CD. 

The top-notch team of sidemen here are Pat Metheny on guitar, Jack DeJohnette on drums, Dave Holland on bass, and Joey Calderazzo on piano. Pianist McCoy Tyner and percussionist Don Alias are added on two tunes. Six of the nine compositions are Brecker's. They are varied, thoughtful, and provide great vehicles for improvisation. Metheny contributes "Bilbao" from his Travels album, Calderazzo contributes a medium tempo swinger, and "Willie T." comes from the late pianist Don Grolnick, who produced Brecker's first two solo albums and performed with Brecker frequently. I would especially recommend this album to those who have come to jazz through the "new adult comtemporary" door and are ready to take the next step towards discovering what real jazz is all about. ~ Dave Hugles https://www.allaboutjazz.com/tales-from-the-hudson-michael-brecker-impulse-review-by-dave-hughes.php?width=1920

Personnel: Michael Brecker (tenor saxophone); Joey Calderazzo, McCoy Tyner (piano); Pat Metheny (guitar, synthesizer); Dave Holland (bass); Jack DeJohnette (drums); Don Alias (percussion).

Tales From The Hudson

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Marcela Mangabeira - Simples

Styles: Brazilian Jazz, Bossa Nova 
Year: 2006
File: MP3@320K/s
Time: 43:54
Size: 102,7 MB
Art: Front

(4:28)  1. Rio
(3:41)  2. Love Dance
(3:17)  3. Para Ti
(3:06)  4. Os Grilos (Crickets Sing For Ana Maria)
(4:06)  5. Insensatez
(3:00)  6. Só Quis Você
(3:32)  7. Pro Menesca (P'ru Ze)
(4:27)  8. Eu E A Brisa
(2:45)  9. Pro Tom
(3:21) 10. A Rã
(5:32) 11. Vôo Sobre O Horizonte
(2:33) 12. Só Danço Samba

Marcela Mangabeira (born August 31, 1981) is a Brazilian singer from the state of Mato Grosso. She began her singing career in 1998 and after winning numerous local singing contests, Marcela toured through Spain, Denmark, Germany, France and the UK as a guest singer with BossaCucaNova. In 2003, she moved to Rio de Janeiro and recorded her first album Simples a year later. http://www.last.fm/music/Marcela+Mangabeira/+wiki

Personnel: Márcio Menescal (various instruments, programming); Roberto Menescal (acoustic guitar, electric guitar); Dum Dum, Sérgio Galvao (flute); Guta Menezes (harmonica); Adriano Souza (keyboards).

Simples

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Acker Bilk - The Very Best Of Mr. Acker Bilk

Styles: Clarinet Jazz 
Year: 1998
File: MP3@320K/s
Time: 36:35
Size: 85,4 MB
Art: Front

(3:40)  1. Summer Set
(3:36)  2. Buona Sera (long version)
(3:18)  3. That's My Home
(2:56)  4. Stranger On The Shore
(2:45)  5. Above The Stars
(2:59)  6. Lonely
(3:05)  7. Limelight
(2:58)  8. A Taste Of Honey
(2:18)  9. Only You (And You Alone)
(2:48) 10. Stranger On The Shore (with Bent Fabric)
(2:34) 11. Alley Cat (with Bent Fabric)
(3:32) 12. Aria

Acker Bilk is best remembered for his crossover pop hit "Stranger on the Shore," a middle-of-the-road smoothie that featured his honeyed clarinet well to the fore. This 12-song best-of reprises that along with other similar fare. 

Two selections find him working with pianist Bent Fabric, first on a duet version of "Stranger," then on Fabric's big elevator music hit "Alley Cat." But the biggest surprise here is the inclusion of the "long version" of "Buono Sera," done up in a style that's equal parts Louis Prima wedded to full-blown Dixieland trad and definitely the most un-pop-like selection on here. ~ Cub Koda http://www.allmusic.com/album/the-very-best-of-acker-bilk-mw0000047128

The Very Best Of Mr. Acker Bilk

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Paul Bley - Nothing To Declare

Styles: Piano Jazz
Year: 2003
File: MP3@256K/s
Time: 57:00
Size: 105,0 MB
Art: Front

(18:32)  1. Nothing To Declare
(15:51)  2. Breakdown
(14:00)  3. Blues Waltz
( 8:35)  4. 8th Avenue

While pianist Paul Bley is renowned as a free player with an almost allergic aversion to music on the printed page, that doesn't mean that he doesn't have roots, or is afraid to show them. On Nothing to Declare , his fifth solo recording for the Canadian Justin Time label, his background in blues and standards is in deep evidence even as he takes these influences and twists them back and forth, up and down, until they manage to be recognizable yet completely him. Bold yet completely accessible, this is a recording that stands in sharp contrast to more outer-reaching recordings including his ECM recordings with Evan Parker and Barre Phillips. Yet for all its lyrical bent, Nothing to Declare is no less artistically pure. Bley has never been known as one to compromise, and he isn't about to start now. Bley's spontaneous improvisational style was inarguably a strong influence on Keith Jarrett in his formative years. But whereas Jarrett's solo excursions have often been inspired but occasionally meandering, Bley is sharply focused, with a sense of economy and attention that makes for absolutely no waste. He has the ability to create harmonic and/or rhythmic motifs with as simple an inspiration as a standard like "All the Things You Are," the foundation of the eighteen-minute title track. Periodically reiterating a simple but insistent rhythmic figure before heading off again into more impressionistic territory, Bley creates an homage that is all the more meaningful for its refusal to be constricted by the simple bounds of the source. 

The three other pieces on Nothing to Declare demonstrate Bley's roots in the blues. While nothing resembling a standard blues form ever emerges, at least for long, Bley's heartfelt "Blues Waltz," "Breakdown," and "8th Avenue," which loosely references Fats Waller's "Black and Blue," all point to an artist for whom the blues has had significant meaning in his life and work.  For an artist who has over seventy recordings as a leader, and countless others as a guest, each recording by Bley manages to be a new experience, shedding light on an artist who, even in his eighth decade, is as fresh and revealing as he ever was. For those who think that purely improvised solo piano recitals start and finish with Keith Jarrett, Nothing to Declare offers firm evidence that one of Jarrett's primary influences is still hard at work, creating adventurous music that continues to define both the terms "in the moment" and "spontaneous composition." 

~ John Kelman https://www.allaboutjazz.com/nothing-to-declare-paul-bley-justin-time-records-review-by-john-kelman.php

Personnel: Paul Bley (piano)

Nothing To Declare

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Anita Wardell - Why Do You Cry

Size: 109,7 MB
Time: 47:08
File: MP3 @ 320K/s
Released: 1995
Styles: Jazz Vocals
Art: Front

01. I've Never Been In Love Before (6:55)
02. September In The Rain (4:22)
03. Why Do You Cry (4:34)
04. Twisted (4:15)
05. In Love In Vain (3:03)
06. Do You Know What It Means To Miss New Orleans (7:07)
07. Bye Bye Blackbird (4:24)
08. Oh What A Beautiful Morning (3:48)
09. Duke Ellington's Sound Of Love (4:22)
10. Deep Purple (4:13)

Jazz vocalist Anita Wardell has been acclaimed for the unique artistry she brings to scat and be-bop singing. Raves from peers and critics alike have cemented her reputation as one of Britain 's finest vocalists.

b. 1961, Guildford, Surrey, England. When Wardell was 12 years old, she and her family emigrated to Australia, where in due time she completed a four-year performance course in jazz and improvised music at Adelaide University. She began singing professionally and appeared at jazz festivals with Richie Cole and with James Morrison and Don Burrows, with whom she later sang on tracks on two albums. In 1989 she returned to the UK where she studied at the Guildhall School of Music and Drama. While there she was heard by Norma Winstone who declared, ‘She sings without affectation, and with clarity of voice, which I love.’ In the early 90s Wardell worked extensively in Europe and also visited the USA, singing at festivals at San José, Edinburgh and in Finland. She formed a close working relationship with John Stevens, performing drums/voice duos and they recorded together in 1994. Her debut album under her own name, in 1995, was an exceptional set of duets with pianist Liam Noble.

A rich, expressive and agile voice allows Wardell to excel not only with the great ballad standards, which she sings with remarkable expressiveness, but also with bop classics. The guru of contemporary jazz singers, Mark Murphy, has extolled the quality of her bop singing, stating that it is ‘always so clear and accurate in its linearism’. Wardell also makes considerable use of scat singing in her programming and while many young singers launch into scat with only a faint notion of its strengths and limitations, she is an exceptionally gifted user of the form.

Why Do You Cry

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Dan Pratt Organ Quartet - Springloaded

Size: 132,8 MB
Time: 57:11
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Mainstream Jazz, Hammond Organ
Art: Front

01. Grapple With The Apple (6:34)
02. 20-20 (4:43)
03. Did You See What I Saw (7:04)
04. Still Steamin' (7:32)
05. House Of Cards (6:34)
06. Blues With A Limp (5:38)
07. The Other End (5:11)
08. Moraga (7:26)
09. Who Knew (6:26)

DPOQ, as it's named on the cover of Springloaded, stands for the Dan Pratt Organ Quartet, a smokin' band led by tenor saxophonist Dan Pratt. DPOQ draws upon the foundations of organ jazz as set by Jimmy Smith and Larry Young, using modern compositional forms to create up-to-the-minute jazz that combines invention and swing. The members of DPOQ are young and they take no prisoners.

Pratt exemplifies the approach of DPOQ. He composed most of the tunes on Springloaded , using challenging and unorthodox formal devices. Yet the tunes are accessible and melodic, and some of them, such as the up-tempo burner "Who Knew," have the potential to become jazz standards. On tenor sax, Pratt has a huge, warm sound, and he improvises creatively and aggressively. He might play against the rhythm, and more often, he digs in and swings, as on "Blues With A Limp."

Organist Jared Gold demonstrates firm footwork, maintaining solid bass lines even as he negotiates the intricate forms of the tunes, such as the odd-meter funk that's part of "Still Steamin." He seems to be developing a personal style based in Larry Young, including Young's lighter touch, and he solos effectively throughout. Alan and Mark Ferber happen to be identical twins, and they're also excellent musicians. Alan can go outside, blare, riff, or bop like J.J. Johnson. Mark keeps swinging time even through the most complex situations.

But DPOQ's strongest asset might be its unity, its band sound. This is a working band, with deep interplay, and when Pratt and Alan Ferber improvise collectively, their lines intertwine with remarkable clarity.The result is Springloaded, a fine debut by a band to watch. ~AAJ Staff

Personnel: Dan Pratt, tenor saxophone; Alan Ferber, trombone; Jared Gold, organ; Mark Ferber, drums.

MC
Ziddu

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Wanda Sa - The Music Of Antonio Carlos Jobim

Size: 100,3 MB
Time: 37:04
File: MP3 @ 320K/s
Released: 2016
Styles: Bossa Nova, Samba
Art: Front

01. One Note Samba (English Version) (2:36)
02. Corcovado (English Version) (3:25)
03. Desafinado (English Version) (3:21)
04. Insensatez (English Version) (3:14)
05. Photograph (English Version) (3:24)
06. Agua De Beber (3:37)
07. Bonita (English Version) (3:43)
08. O Amor Em Paz (English Version) (3:17)
09. Triste (English Version) (2:46)
10. Dindi (English Version) (4:18)
11. Inutil Paisagem (English Version) (3:21)

When at 13 she enrolled at Roberto Menescal's guitar academy, Wanda Sá (also known as Wanda de Sah), a successful bossa nova artist, was spotted by Ronaldo Bôscoli and invited to appear on the programs Dois no Balanço (TV Excelsior) and O Fino da Bossa (TV Record). Starting her professional career at 19 with Wanda Vagamente (1964), one of the earliest arranging assignments by Eumir Deodato, Sá launched "Inútil Paisagem" (Tom Jobim/Aloysio de Oliveira) and the earliest compositions by Edú Lobo, Francis Hime, and Marcos Valle. The album, launched at the Fino da Bossa show (at the Paramount Theater in São Paulo), was a success (having been reissued in Japan in the decade of the 2000s) and had a hit with "Vagamente" (Roberto Menescal/Ronaldo Bôscoli). By the end of the same year, she joined Sérgio Mendes' Brasil '65 (with Rosinha de Valença and Jorge Ben Jor), realizing successful shows in Brazil and the U.S., where Brasil '65 was recorded (with the participation of Bud Shank and the Sérgio Mendes Trio). She also recorded in the U.S. the solo Softly and performed both in Brazil and the U.S. with the Sérgio Mendes Trio. In 1966, she returned to Brazil where she did shows with Baden Powell, Vinícius de Moraes, Mièle, Luís Carlos Vinhas, and the Bossa 3. In 1969, Sá participated in Paul Desmond's Hot Summer. Married to Edú Lobo from 1969 to 1982, a period in which she left the scene, Sá returned in the late '80s, performing shows with Roberto Menescal and Mièle, recording Brasileiras in 1994 with Célia Vaz. In 2000, she recorded with Luís Carlos Vinhas, Tião Neto, and João Cortez the CD Wanda Sá & Bossa Três with bossa nova classics and new compositions. Four successful seasons at the Sabbata Tokyo turned the CD Wanda Vagamente into a hit, having reached second place on the top charts. In 2001, she participated with Roberto Menescal, Marcos Valle, and Danilo Caymmi in the Fare Festival (Pavia, Italy). ~by Alvaro Neder

The Music Of Antonio Carlos Jobim

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Eric Hargett Trio - Steppin' Up (Feat. Joey DeFrancesco & Gerry Gibbs)

Size: 132,2 MB
Time: 56:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Hard Bop, Hammond Organ
Art: Front & Back

01. Steppin' Up (3:59)
02. West (6:02)
03. Hackensack (Feat. Hamilton Price) (3:39)
04. Woody's Dream (4:13)
05. Baretta (6:12)
06. You Don't Know What Love Is (7:18)
07. Brunswick Avenue (5:04)
08. Pacific Voyage (5:43)
09. Myra's Song (6:39)
10. Sunday Fog (8:02)

There's certainly something about the baritone sax that gets your attention. The sounds are commanding; they grab and don't let go. They can throttle. They can lurk. They can dominate the soundscape. In the right hands, it's devastating. Eric Hargett has just those hands.

On Steppin' Up, Hargett's remarkable debut as a bandleader, the upstart leader manages to avoid opening night jitters, thanks to a diverse and tasty ten-spot of tunes and the incredible support of Joey DeFrancesco on the B3 and piano, and drummer Gerry Gibbs. Of course, when you've got that kind of seasoned experience behind you, one can only imagine how it'd soothe the nerves.

Right out of the gate, Hargett, DeFrancesco and Gibbs really bring it. There's the raw and sizzling funk of the title track that kicks things off. There's the hard bop of "Woody's Dream, " which starts in high gear and then shifts into overdrive, led by Hargett's charging bari, and the nifty interplay of his rhythm-mates lifting things to a higher elevation. "Baretta" is an homage to '70s TV theme song funk, with Hargett doing some seriously heavy lifting. There is even a handful of tunes—"West, " "Hackensack, " and "Pacific Voyage, " in particular—in which Hargett puts down the bari and picks up the tenor, with excellent results.

On the flip side (not literally), Hargett is not averse to taking it down a notch, smoothing the edges, as he does on his super-tender cover of "You Don't Know What Love Is, " with the B3 laying down a comfortable bed of chord changes and Gibbs urging Hargett with nothing more than sexy brushes. The result is heart-felt, deeply moving … and just the kind of break listeners need in order to jump back into the dirty bari that Hargett serves up for much of the session. The same poignance emerges on the lovely "Myra." Lucky girl, that Myra, to have such a sweet ode written to her. But lest you start thinking Hargett is hopelessly romantic, check out the closer, "Sunday Fog, " a nasty, virtuosic, locomotive of a piece that will leave you breathless and satisfied.

Hargett hails from Houston, got schooled in Austin, and has since moved to LA. He met up with Gibbs after an invite to play in his Thrasher Big Band back in 2006. Hargett later teamed up with Gibbs' father, the vibist and composer Terry Gibbs, in the master's own Terry Gibbs Dream Band. He has clearly gained some savvy and some sophistication along the way, and it shows up grandly on Steppin' Up. From ballads to burning funk, Hargett proves he can do it all, and this, his first real crack at leadership. He's had some good apprenticeships during his brief career thus far, and he's got A-list support to bring it all home, which is why Steppin' Up is an incredible step in the right direction. ~Republic Of Jazz

MC
Ziddu

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Fay Claassen & Trio Peter Beets - Live At The Amsterdam Concertgebouw

Size: 117,9 MB
Time: 50:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Just One Of Those Things (2:56)
02. I'm Old Fashioned (3:08)
03. When Sunny Gets Blue (6:28)
04. The Song Is You (4:04)
05. Poor Butterfly (4:15)
06. 'S Wonderful (2:33)
07. Zon In Scheveningen (4:19)
08. I've Got The World On A String (4:05)
09. Meditation (5:32)
10. You'd Be So Nice To Come Home To (4:06)
11. Detour Ahead (3:40)
12. Summertime (5:16)

When asked who would be the successor to her throne, the world renowned jazz vocalist Rita Reys always pointed out Fay Claassen as the only Dutch vocalist who would be able to fill her elegantly swinging shoes. Those who know that Rita Reys was once honoured with the title ‘Europe’s First Lady of Jazz’ at the prestigious 1960 Juan-les-Pins Jazz Festival will realise just how important Reys’ kind words have been to a young singer like Fay Claassen. So it was only logical that after Reys’ sad demise in 2013, it was Fay Claassen who teamed up with Rita’s last working band, The Peter Beets Trio, featuring guitarist Martijn van Iterson, bass player Ruud Jacobs and, of course, the swinging virtuoso pianist Peter Beets himself. Their first gig together took place in 2014 at the famous Amsterdam Concertgebouw, a date that was recorded live to capture the spontaneous, pure and thrilling vibe that filled this sacred building of music with the spirit of Holland’s greatest jazz singer ever. For all of those who missed this very special occasion, there is the album Fay Claassen & The Peter Beets Trio live at the Concertgebouw. Claassen and the Trio combine their improvisational skills resulting in an unsurpassed synergy and musicality. From the first note on it is evident that Beets and his men have paid their dues playing superb renditions of the standard jazz repertoire for many years.

MC
Ziddu

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Don Friedman - Hot House

Bitrate: MP3@320K/s
Time: 75:04
Size: 171.8 MB
Styles: Bop, Piano jazz
Year: 2004
Art: Front

[7:52] 1. 35 West 4th Street
[7:29] 2. Hot House
[8:33] 3. My Funny Valentine
[5:32] 4. But Beautiful
[5:53] 5. Blues In A Hurry
[7:29] 6. Ana Maria
[7:53] 7. Soul Eyes
[8:15] 8. Sail Away
[6:09] 9. Waltz For Marilyn
[9:55] 10. You Go To My Head

During his long career, Don Friedman has recorded many memorable dates as a leader, though the veteran pianist remains a talent worthy of greater recognition. With seasoned bassist Ron McClure, drummer Tony Jefferson, and tenor saxophonist Tim Armacost, Friedman's adventurous set shows the obvious influence of Bill Evans while also exploring a wide range of material. His harmonically advanced arrangement of "My Funny Valentine" features Armacost on soprano sax. He puts a fresh stamp on "You Go to My Head" in a sparkling duet with McClure. Friedman's lush solo interpretation of "But Beautiful" is also not to be missed. The driving performance of Tadd Dameron's "Hot House" finds the pianist initially taking a backseat to Armacost's blazing tenor before he and McClure make their individual statements with authority. Mal Waldron's well-known "Soul Eyes" is a marvelous duet matching McClure's warm arco bass with Friedman's lush chords. The leader also brought a trio of originals to the sessions, including the upbeat "35 West 4th Street," the frenetic "Blues in a Hurry," and "Waltz for Marilyn," the latter played unaccompanied. ~Ken Dryden

Hot House

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Remi Bolduc, Kenny Werner - Tchat

Bitrate: MP3@320K/s
Time: 66:22
Size: 151.9 MB
Styles: Cool jazz
Year: 2003
Art: Front

[7:20] 1. I Concentrate On You
[6:25] 2. Trio Imitation
[3:26] 3. You And The Night And The Music
[2:17] 4. Corrosion
[8:52] 5. Amitie Avec Un Grand A
[5:43] 6. In Tune
[9:44] 7. A La Memoire De Michel
[5:23] 8. In Love Like Someone
[6:35] 9. In Voice
[6:41] 10. Samuel
[3:50] 11. Lumiere D'etoiles

Remi Bolduc : Alto sax, Kenny Werner : Piano.

Of the many benefits borne out of the age of information, the existence of Internet chatrooms and e-mail has created unparalleled opportunities for communication. Such has been the experience of the musicians paired on this disc, but their story goes well beyond mere online exchanges.

On the one hand, Kenny Werner is simply one of the boss piano players around on the international jazz scene, and notwithstanding his extensive sideman duties with many of the greats, his own list of credits only confirms the fact that he is one of them himself. On the other hand, alto saxophonist Rémi Bolduc has earned his stripes on the Montreal scene over the last 15 years, and this recording clearly shows his abilities to work with the best. Now in his early forties, he spent some time in the Apple back in the early 90’s, honing his skills with Steve Coleman while hanging out with the likes of Larry Grenadier, Adam Rogers and Ben Monder. About three years ago, Rémi decided to approach the pianist for a lesson, having transcribed and studied his music beforehand, but within 15 minutes, Werner let his visitor know that the best way to learn was to just go for it and play together rather than expect any formal instruction. A nice vote of confidence indeed. Since then, their musical relationship has been cemented onstage (a performance at the Montreal International Jazz Festival), pursued via the Net and now finally documented on disc.

Always fresh and spontaneous in its exchanges, the duo of Rémi Bolduc and Kenny Werner breaks down the usual barriers separating solo and accompanying instruments. Not only are these kindred spirits able enough to re-harmonize tunes at will, but they can also turn on a dime and launch into mellifluous cadenzas that are rhythmically fluid yet never out of bounds. With such prime ingredients, it’s not surprising that these top-notch performers have succeeded in producing more than run-of-the-mill ‘tchats’ but a wide range of engaging musical conversations. Hear them out! ~Marc Chénard

Tchat

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