Jill Johnson - For You I’ll Wait

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 45:02
Size: 104,2 MB
Art: Front

(3:58)  1. I Will Never Let You Know
(4:52)  2. It Don't Change a Thing
(3:08)  3. Again
(3:50)  4. When It Pours It Rains
(3:39)  5. Gotta Love Me More
(3:26)  6. Love Is Good At Breaking Hearts
(4:39)  7. Could You Stay the Night
(4:52)  8. Till You're Gone
(4:50)  9. For You I'll Wait
(3:15) 10. Given Up
(4:28) 11. The Night I Cry

It’s been four years since Jill Johnson released a record with her own material, and finally her much anticipated album “For You I’ll Wait” is now being released! The music was written during a week in April in Nashville and Austin  a week when the songs came as a flood. The result is “For You I’ll Wait”, an album containing 11 tracks with a delicate sound and intimate lyrics revealing who Jill is today. “It should chafe, there should be brittleness and it should be felt! It is a feeling that became even more apparent after my collaboration with Gabriel Kelley. The meeting with him in the TV series “Jill’s Veranda” in Nashville affected me quite profoundly. I felt at once that I wanted to make music with him and I think that he brought me to a darker, deeper sound with more heart and soul,” explains Jill.  On ”For You I’ll Wait”, Jill has worked with some of USA:s most outstanding song-writers and as well as Garbriel Kelley, was of course, Liz Rose, a close friend of Jill who’s a several time Grammy-nominee and even award winning, Nathan Chapman, Kate York and Lori McKenna.

“It sounds almost silly when you say that you’ve written that much music over just a few days, but that’s exactly what happened. I really opened up and we wrote around the clock which produced results. I was completely at a standstill when I got home but simultaneously felt quite elated”, says Jill. The theme for the whole album is more or less about life, love and also about that which we all know, that a person should first and foremost love and respect herself  in order to love and respect others. This time, Jill has taken on the role of co-producer together with her good friend and producer of many years, Amir Aly. The whole album was recorded together with Jill’s musicians whom have played with her for a number of years, contributing to the overall self-assured sound.

“I’ve always known how I want to sound on record, but have never had the patience to produce my music to the full. My writing has developed over the years, lyrics have become more personal and with that the interest has grown to create frameworks. Since I started to play the guitar a few years ago, a new ear for how others play has developed and it’s great to try out new things and dress up the music in different costumes. Amir Aly is the most talented producer I’ve worked with. He’s a fantastic musician, has the technical knowledge and has the patience of an angel in order to immerse me in the process and guide me in my search for the perfect sound. Producing this record with Amir has meant lots of laughter, tears and learning. Music, when it’s most enjoyable”, says Jill. ”I really look forward to the tour which will be the first for a long time with completely new material”, says Jill. ”I love concert halls as a performing space, that give the audience the chance to really listen and me to get closer to them”, concludes Jill. http://jilljohnson.se/en/jill-johnson-for-you-ill-wait/

For You I’ll Wait

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Chet Baker and Paul Bley - Diane

Styles: Trumpet And Piano Jazz 
Year: 2000
File: MP3@320K/s
Time: 51:41
Size: 120,0 MB
Art: Front

( 7:16)  1. If I Should Lose You
( 7:01)  2. You Go To My Head
( 5:19)  3. How Deep Is The Ocean
( 3:56)  4. Pent-Up House
( 7:54)  5. Every Time We Say Good Bye
( 5:32)  6. Diane
( 4:15)  7. Skidadidlin'
(10:24)  8. Little Girl Blue

Chet Baker recorded at every opportunity during the last decade or so of his tragic life, with widely varying results due to his drug addiction. But this surprising duo session with pianist Paul Bley is one of his better efforts from this period, focusing primarily on standard ballads by top composers. Bley's playing in the mid-'80s usually was freer in nature, but he willingly plays more mainstream backing for the trumpeter. Baker's tone adds to the poignant air in a rather deliberate interpretation of "If I Should Lose You," with Bley playing beautiful, sparse chords behind him. The duo gels nicely in a midtempo setting of Sonny Rollins' "Pent-Up House," while Baker's "Skidadidlin'" is a low key, bluesy number. Baker sings "You Go to My Head" in a thoughtful manner. First issued on LP, the CD edition added a warm extended performance of Richard Rodgers' "Little Girl Blue" that obviously was omitted at first only due to time restrictions. ~ Ken Dryden http://www.allmusic.com/album/diane-chet-baker-and-paul-bley-mw0000193195

Personnel:  Piano – Paul Bley;  Trumpet – Chet Baker;  Vocals – Chet Baker (tracks: 2)

Diane

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Linda Purl - Midnight Caravan

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 55:12
Size: 127,1 MB
Art: Front

(4:01)  1. I Feel a Song Coming On
(3:11)  2. Let Me Love You
(6:05)  3. Autumn in New York
(2:37)  4. Them There Eyes
(3:50)  5. L'etang
(4:00)  6. I Thought About You
(4:05)  7. Oh Me, Oh My / Cheerful Little Earful
(4:52)  8. Easy Living
(3:13)  9. Shall We Dance?
(3:21) 10. My Ship
(3:06) 11. Spring Again
(3:42) 12. Caravan
(3:51) 13. My Romance
(2:19) 14. It's a Pity to Say Goodnight
(2:51) 15. 'Tis Autumn

From Feinstein s at the Regency, Linda Purl salutes the great women of the 40s and 50s, from Ella Fitzgerald to Rosemary Clooney!  Straight from New York s Feinstein s at the Regency, Midnight Caravan salutes the great female singing stars of the 1940s and 1950s, from Ella Fitzgerald to Judy Garland to Rosemary Clooney! From sultry ballads to hot Latin jazz arrangements of Broadway tunes, the show features classic standards like My Romance, Shall We Dance, and Caravan, conjuring a nighttime Mad Men -esque world where the surroundings are posh, the drinks keep flowing, and nobody goes to bed before three! Linda Purl, best known from her long reign on television in such classics as Matlock and Happy Days and more recently of The Office, True Blood, and Homeland comes out of the box to glimmer as a true jazz chanteuse. Along with hip and masterful arranger/pianist Tedd Firth, she makes us rediscover what we loved about the great NY nightclub era, all over again! ~ Editorial Reviews https://www.amazon.com/Midnight-Caravan-Linda-Purl/dp/B00BIUOLM4

An act that literally takes your breath away... she has an impressive range, perfect intonation, and awesome phrasing ... discovering this kind of beauty and talent ... is like seeing a unicorn in a subway. ~ Rex Reed, NEW YORK OBSERVER

Beautiful, sensuous Purl ... a sultry nightclub star with a show that combines intimate stories, humor, and delicious song styling. ~ LA Weekly

A true American sweetheart ... riveting. ~ LA Times

Midnight Caravan

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Nicholas Payton - Sketches Of Spain

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 40:56
Size: 94,8 MB
Art: Front

(15:40) 1. Concierto De Aranjuez
( 3:25)  2. Will O' The Wisp
( 4:11)  3. The Pan Piper
( 4:50)  4. Saeta
(12:48) 5. Solea

Yes...You read it correctly, Sketches of Spain is perhaps the embodiment of everything that is artistically brilliant about a trumpet player that until now has never realized his complete potential. The 1960 release from Miles Davis is reworked as a live concert with a 19 piece orchestra and includes long time running mates Vincente Archer on bass, Marcus Gilmore on drums and Daniel Sadownick on percussion. What makes the Payton "riff" on Miles work? Payton does what Payton does best, he plays trumpet. While I have remained one of a handful of writers that has never chosen to worship at the self indulgent alter of either Miles or Nicholas Payton, Sketches of Spain has never sounded better and Payton's performance is superb. You have no idea how bad it hurts to admit that. What makes this Payton recording special is the amazing ability to take everything that is #BAM and place it on the back burner in favor of simply performing a musical exploratory on one of the greatest selling albums in modern music...and the key word being music not #BAM. While a visceral artist from the word go, Payton does an amazing cerebral take on perhaps where this music could have gone and perhaps where it can go in the future.  There is little need to break down the work into pseudo intellectual bits and pieces as only Payton knows his true artistic intent but to the passive listener this is truly old school made new cool once again. Nicholas Payton and I have had our ups and downs, mostly downs. After the smoldering wreckage over the misogynistic disaster that was "Bitches" we find Payton back in his own wheelhouse, doing it his way and at an incredibly proficient level. Love him or hate him you got to give it to him. 

~ Brent Black http://www.criticaljazz.com/2013/11/nicholas-payton-sketches-of-spain-bfm.html 

Personnel: Nicholas Payton (trumpet); Aurelie Noll (harp); Stéphane Réty, Nikita Cardinaux, Rahel Leuenberger , Marc Lachat, Benedikt Shobel, Andreas Ferraino (woodwinds); Marc Ullrich , Marc Hood, Manuela Fuchs, Immanuel Richter (trumpet); Jean-Francois Taillard, Pascal Deuber, Henryk Kalinsky (French horn); George Monch (tuba); Marcus Gilmore (drums); Daniel Sadownick, Szilard Buti (percussion).

Sketches Of Spain

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Erroll Garner - Ready Take One

Styles: Piano Jazz

Year: 2016

File: MP3@320K/s

Time: 66:02

Size: 152,4 MB

Art: Front

(3:47)  1. High Wire

(3:00)  2. I Want to Be Happy

(5:03)  3. I'm Confessin' (That I Love You)

(3:19)  4. Sunny

(5:07)  5. Wild Music

(6:23)  6. Caravan

(5:25)  7. Back to You

(4:25)  8. Night and Day

(2:57)  9. Chase Me

(5:52) 10. Satin Doll

(5:27) 11. Latin Digs

(4:50) 12. Stella By Starlight

(5:29) 13. Down Wylie Avenue

(4:52) 14. Misty

During his lifetime, Erroll Garner was a somewhat controversial figure with jazz aficionados. The main knock was that he was a technical master of the piano with plenty of flair and piano-bar panache, but not enough soul and swing to be a jazz heavyweight. Despite the bickering among jazz critics, Garner (who died in 1977) did not have trouble filling performance spaces or selling albums, but his place in the public ear waned after his death. His live Concert by the Sea remains one of the best-selling jazz albums ever, and received a deluxe 3-CD reissue (and was nominated for a Grammy) last year. Now, Sony/Legacy has dipped into the archives of Garner’s late manager, Martha Glaser, and found 14 finished but never released recordings, the content of this new album. Ready Take One is composed of recordings made in 1967 at Universal Recording Studios in Chicago; in 1969 at Capitol Studios New York; and in 1971 at RCA Studios New York. The album closes with a live version of Garner’s hit, “Misty,” recorded in Paris in May 1969. For the 1967 sessions, Ike Isaacs on bass, Jimmie Smith on drums and Joe Mangual on congas backed Garner. For the 1969 and 1971 studio and live recordings, Earnest McCarty, Jr. replaced Isaacs on bass. The fact that the band and style of playing remains consistent throughout makes the album hold together as a coherent sequence of enjoyable tunes rather than an “archive dig” of disjointed musical examples.

According to Robin Kelly’s liner notes, Garner’s style in the studio was much like his style on stage with his band: he would call out a tune and then go, with the band responsible for keeping up with whatever improvisational twists he chose to explore. Fortunately, the backing musicians were up for the challenge, and the recordings sparkle with the excitement of a quartet doing what good jazz musicians do exploring and reacting to each other rather than playing heavily-rehearsed and written-down music. And, for the record, although all of the players are technically excellent, the album gushes with swing and soul. One admittedly minor criticism: although the liner notes emphasize the fact that the reissue producers chose to keep audio of Glaser calling out take numbers and a few seconds of studio banter here and there, this “bonus material” does not add anything to the music. In fact, it slightly interrupts the flow of the album. Six of the album’s 14 cuts are Garner originals; “High Wire” and “Wild Music” are particularly nice. The Paris recording of “Misty” also stands out because, despite playing the song thousands of times to ever-eager audiences, Garner could still bring excitement and a connection of “I’m playing this song just for you” to what was yet another performance. Also interesting is the band’s take on the Juan Tizol/Duke Ellington standard “Caravan.” Garner’s decision to take the melody apart and reassemble pieces of it on unusual beats doesn’t always work, but the approach shows how the band was not content to run through standards in any sort of traditional way. The 1971 sessions, especially, show the influence of funk and acid-jazz on more traditional performers. Garner sometimes sounds quite a bit like Ramsey Lewis (“The In Crowd”), and that more-soul/less-swing approach was probably preferred by live audiences of the time. But, Garner never shies away from virtuosity, so there is always crisp execution of complex right-hand runs and rock-solid left-hand rhythm. Sony/Legacy has an arrangement to mine the archives of Garner and Glaser, and more releases are promised. Hopefully, there is more of this kind of polished music in the vaults. And, hopefully, future reissues producers will assemble and sequence future releases into enjoyable, musically coherent albums like Ready Take One. ~ Tom Fine http://blackgrooves.org/erroll-garner-ready-take-one/

Personnel:  Erroll Garner (p) / Jimmie Smith (d) / Ernest McCarter Jr. (b) / Jose Magual (perc)

Ready Take One     

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George Shearing - Grand Piano

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 40:00
Size: 91,9 MB
Art: Front

(4:31)  1. When a Woman Loves a Man
(4:48)  2. It Never Entered My Mind
(4:44)  3. Mack the Knife
(3:31)  4. Nobody Else But Me
(2:43)  5. Imitations
(2:39)  6. Taking a Chance on Love
(4:50)  7. If I Had You
(3:16)  8. How Insensitive
(3:50)  9. Easy to Love
(5:04) 10. While We're Young

George Shearing recorded frequently while on Concord but this was his first full-length session of unaccompanied solos for the label. Most of the ten selections are interpreted as ballads (Shearing takes an effective vocal on his original "Imitations") but he does cook a bit on "Nobody Else but Me" and "Easy to Love." 

However the emphasis is on slow thoughtful tempos and introspective improvising. 

~ Scott Yanow http://www.allmusic.com/album/grand-piano-mw0000649726

Personnel: George Shearing (piano).

Grand Piano

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Polly Gibbons - Bang Bang

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 58:20
Size: 134,4 MB
Art: Front

(4:16)  1. My Favorite Things
(5:23)  2. Bang Bang
(6:31)  3. You Dont't Know What Love Is
(4:54)  4. You've Got A Friend
(2:24)  5. Speak Low
(4:19)  6. In The Wee Small Hours Of Morning
(4:52)  7. Bridge Over Troubled Water
(3:09)  8. Honeysuckle Rose
(4:00)  9. Ain't That Love
(3:42) 10. Dark End Of The Street
(3:20) 11. You Send Me
(5:25) 12. The Masquerade Is Over
(6:00) 13. The Way

At 25 years old, Polly Gibbons is one of the most talked about young singer/songwriters in the UK – her nomination for a BBC Jazz Award is clear indication of her success, along with ongoing performances at some of the top UK venues and international festivals. Raised with 5 siblings on a musical Suffolk farm, people quickly became aware of her vocal talent. By the age of 5, Polly had already co-written her first song – a song which was selected from thousands to be recorded at Air Studios in London. Polly co-wrote her debut album, “What’s The Real Reason” with Ola Onabule, who also produced it on his label, Rugged Ram Records. A highly anticipated collection of lyrically refreshing songs, the album reflects Polly’s main influences of jazz, soul and hip hop. Polly shimmers in song with an instinctive soulfulness and maturity that belies her years. Her understanding of heartfelt delivery in the tradition of the genre, are notched up a level by the quirky insight of her lyrics. Whilst you’re grooving to the jazz tinged hip-hop beats of her tunes, you will also be taken in by the down to earth British humour in her words. Bursting at the seams with wit, incisive intellect and absolute honesty about Polly and the world she inhabits, her songs are delivered via one of the warmest sultriest voices you’ll hear in a very long time. With an innate vocal versatility, Polly has been invited to record on various projects including a track with hip hop group Vinyl Dialect, on Wall of Sound's Bad Magic label. In addition, Polly has co-written and performed a song on a British Soul compilation album, 'Diggz Presents Random Soul’ on Random Records. Most recently Polly featured alongside such jazz luminaries as Jaqui Dankworth, Ian Shaw and Gwyneth Herbert on an album entitled ‘The Music of BB Cooper’. Polly has spent many occasions over the last 4 years recording and performing with renowned artist and producer, Ian Shaw. http://www.hideawaylive.co.uk/polly-gibbons-quartet-3110

“This talent is one in a million... miss her gigs at your peril!” Ian Shaw

“Polly Gibbons’ melismatic, gospel-fired tribute to Ray Charles was remarkable” The Evening Standard (Ronnie Scott’s Review)

“A soulful voice that will capture your heart” Claire Martin

“There’s a rare sense of joy in her voice, not to mention a depth of blues feeling...” Evening Standard (Pizza Express Review)

“A soulful young jazz vocalist destined to be a star!” Time Out

“One of the most auspicious debuts of recent times” Jazzwise

Bang Bang

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Phil Woods & Jon Eardley - Pot Pie

Styles: Saxophone And Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 41:57
Size: 96,3 MB
Art: Front

(5:14)  1. Pot Pie
(5:26)  2. Open Door
(6:35)  3. Mad About the Boy
(5:20)  4. Robin's Bobbin
(5:12)  5. Cobblestones
(4:57)  6. Toos Bloos
(4:49)  7. Sea Beach
(4:20)  8. Horseshoe Curve

Phil Woods was only 22 at the time of this program (reissued on CD), but he was already an explosive and very talented bop-oriented altoist. This obscure set, one of his earliest recordings, has seven group originals, plus the lone standard "Mad About the Boy," and is full of excitement. Woods, trumpeter Jon Eardley, pianist George Syran, bassist Teddy Kotick and drummer Nick Stabulas all display both youthful energy and a strong knowledge of Charlie Parker's innovations, making this an essential, if little-known acquisition for bop collectors. ~ Scott Yanow http://www.allmusic.com/album/pot-pie-mw0000087380

Personnel:  Phil Woods, alto saxophone;  Jon Eardley, trumpet;  George Syran, piano;  Teddy Kotick, bass;  Nick Stabulas, drums.

Pot Pie

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Paolo Sapia - Mostly Music

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 67:51
Size: 158,9 MB
Art: Front

(10:12)  1. Desire
( 5:46)  2. Where Are We Now?
( 6:27)  3. Old Folks
( 7:29)  4. 621 Willoughby Ave
( 6:41)  5. Don't Follow the Crowd
( 5:55)  6. Planet P
( 4:49)  7. Stapled Mates
( 6:30)  8. Saudade De Bahia
( 6:00)  9. On a Clear Day
( 7:57) 10. Pure Imagination

Paolo is originally from Italy and he has played Jazz Piano professionally for years, playing in several Jazz Festivals and Jazz Clubs such as the Blue Notein Milan, the Italian Way of Jazz, Trenzano Jazz Festival, Ottagono Jazz Festival among others. In 2004 Paolo decided to start playing the Alto Sax and in 2005 he moved to New York after receiving a scholarship at the Jazz and Contemporary Music program at the
New School University in New York , after that he received a MA degree from The Queens College in New York City as well. 

From Blue Note to the Kennedy Center in Whashington D.C or the Italian Cultural Institute Paolo has performed, recorded, and studied with a broad range of musicians: Jimmy Cobb, Eric Mcpherson, Antonio hart, Kevin Hays, Bob Mover, Jeremy Manasia, Mark Turner, Reggie Workman, Quincy Davis, Sam Harris, Eden Ladin, Marco Panascia, Harold O’neil, Vincent Herring, Joseph Lepore, Luca Santaniello. Philip Dizak, Peter Zak, Rafal Sarnecki, Joel Holmes, Wayne Escoffery, Reggie Quinerly, Mike Eckroth, Jimmy Owens and many others. In June 2013 Paolo has recorded his first album as leader to be released soon “Mostly Music” featuring an amazing band which includes the great Jimmy Cobb on Drums, Philip Dizak on Trumpet, Peter Zakon Rhodes and Piano and John Webberon Bass. http://paolosapia.com.s105549.gridserver.com/wp-content/uploads/Paolo_Sapia_Bio_2013.pdf

Mostly Music

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Michael Bublé - Nobody But Me

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 44:58
Size: 103,9 MB
Art: Front

(3:21)  1. I Believe in You
(4:06)  2. My Kind of Girl
(2:59)  3. Nobody But Me
(2:42)  4. On an Evening in Roma (Sott'er Celo de Roma)
(3:24)  5. Today Is Yesterday's Tomorrow
(3:31)  6. The Very Thought of You
(3:42)  7. I Wanna Be Around
(3:23)  8. Someday (feat. Meghan Trainor)
(3:15)  9. My Baby Just Cares for Me
(4:20) 10. This Love of Mine
(3:01) 11. Nobody But Me (Alternate w/Trumpet Version)
(2:53) 12. Take You Away
(4:15) 13. God Only Knows

The crooner defies expectations on his self-produced seventh LP. While Nobody But Me still features plenty of big band romance (as well as a stirring cover of The Beach Boys’ “God Only Knows”), the acoustic pop of “I Believe In You” and rap-enriched “Nobody But Me” (which features a verse from The Roots’ Black Thought) prove that Bublé’s much more than a throwback. ~ iTunes Review https://itunes.apple.com/us/album/nobody-but-me-deluxe-version/id1143638809

Nobody But Me

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Pepper Adams - Conjuration: Fat Tuesday's Session

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 69:12
Size: 160,5 MB
Art: Front

(8:08)  1. Conjuration
(8:19)  2. Alone Together
(8:04)  3. Diabolique II
(7:37)  4. Claudette's Way
(6:44)  5. Dylan's Delight
(7:44)  6. Dr. Deep
(7:16)  7. Old Ballad
(6:56)  8. Quittin' Time
(5:44)  9. Dobbin
(2:35) 10. Tis

The great baritonist Pepper Adams is teamed up with the adventurous trumpeter Kenny Wheeler and veteran pianist Hank Jones for this live quintet date. Wheeler, although often associated with the avant-garde, has never had any difficulty playing changes and his strong style clearly inspired Adams. Together they perform three of the baritonist's originals, Thad Jones "Tis," Wheeler's "Old Ballad," and the standard "Alone Together." ~ Scott Yanow  http://www.allmusic.com/album/conjuration-fat-tuesdays-session-mw0000265496

Personnel: Pepper Adams (baritone saxophone); Kenny Wheeler (trumpet, flugelhorn); Hank Jones (piano); Clint Houston (bass); Louis Hayes (drums)

Conjuration: Fat Tuesday's Session

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Irene Atman - Irene Atman

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 53:14
Size: 123,2 MB
Art: Front

(4:28)  1. Summer Me, Winter Me
(4:32)  2. Shall We Dance
(5:21)  3. If I Love Again
(4:21)  4. That's All
(3:46)  5. The Very Thought Of You
(6:04)  6. The Nearness To You
(3:37)  7. If I Were A Bell
(4:05)  8. What Are You Doing For The Rest Of Your Life
(3:24)  9. Les Parapluies De Cherbourg
(3:44) 10. Simple Life
(4:46) 11. The Shadow Of Your Smile
(5:00) 12. My Foolish Heart

From Toronto, Canada, vocalist Irene Atman releases her self titled debut album presenting eleven time-honored classics from the Great American Songbook. Most definitely one of the best jazz vocals recordings I’ve ever heard. Possessing a voice that brings to mind some great singers, I asked myself where has she been and why has she not let the world hear her sooner. I concluded that if the legendary Barbra Streisand ever decided to sing jazz, she would sound like Irene Atman. That’s how good I believe this lady’s voice really is, truly mesmerizing. Let me add, that I have had the privilege of seeing Streisand live in concert (October, 2006, Bank Atlantic Center, Sunrise) so I know of what I speak. Making this album so special is the selection of wonderful tunes like the Rodgers/Hammerstein “Shall We Dance,” Ray Noble’s “The Very Thought of You,” Carmichael’s “The Nearness of You,” “What Are You Doing The Rest of Your Life,” and Johnny Mandel’s immortal “The Shadow of Your Smile,” just to name a few.

Atman interprets these classics with a stylish graceful elegance that leaves a memorable impression. The singer reaches with each song carrying the lyrics in warm fashion and hitting the high notes with ease. She even includes a Michel Legrand/Jaques Demy composition (“Les Parapluies de Cherbourg”) voiced in French. She begins the album with one of the best renditions of “Summer Me, Winter Me,” recorded and ends with the romantic Victor Young/Ned Washington love ballad of “My Foolish Heart.” Atman pulls off this musical treasure with the assistance of a fine sextet that includes co-arranger and producer Danny McErlain (piano), Duncan Hopkins (bass), Steve Heathcote (drums), Rob Piltch (guitar), Bob DeAngelis (sax and clarinet), John Macleod (trumpet) and Gary Binsted (bass) on selected tracks. An enchanting musical statement from Irene Atman. This release should garnish critical acclaim and calls from everyone who hears it, for more. https://www.cdbaby.com/cd/IreneAtman3

Personnel:  Danny McErlain (piano), Duncan Hopkins (bass), Steve Heathcote (drums), Rob Piltch (guitar), Bob DeAngelis (sax and clarinet), John Macleod (trumpet) and Gary Binsted (bass).

Irene Atman

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Jon Eardley - The Jon Eardley Seven

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 35:12
Size: 81,2 MB
Art: Front

(4:58)  1. Leap Year
(5:48)  2. There's No You
(8:05)  3. On the Minute
(5:16)  4. Ladders
(5:50)  5. Koo Koo
(5:12)  6. Eard's Word

The soft-toned trumpeter Jon Eardley (who was playing with Gerry Mulligan's Sextet at the time) holds his own with tenor saxophonist Zoot Sims and altoist Phil Woods on this excellent straightahead septet set; also in the group are trombonist Milt Gold, pianist George Syran, bassist Teddy Kotick and drummer Nick Stabulas. The CD reissue (Eardley's third and final American session as a leader) features the excellent group on three of the trumpeter's originals, one apiece by Syran and Woods plus the standard "There's No You." ~ Scott Yanow http://www.allmusic.com/album/the-jon-eardley-seven-mw0000177102

Personnel: Jon Eardley (trumpet); Phil Woods (alto saxophone); Zoot Sims (tenor saxophone); Milt Gold (trombone); George Syran (piano); Nick Stabulas (drums).

The Jon Eardley Seven

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Paul Bley Group - Live At Sweet Basil

Styles: Piano Jazz

Year: 1991

File: MP3@256K/s

Time: 55:21

Size: 101,8 MB

Art: Front

( 9:03)  1. Blues Waltz

(15:29)  2. Lover Man

(11:00)  3. When Will The Blues Leave?

(11:10)  4. My Old Flame

( 8:39)  5. My Foolish Heart

Live At Sweet Basil was recorded three years after The Paul Bley Group's Hot album. Both albums document live performances in New York City and have identical instrumentation, though the only member (besides Bley) constant in both lineups is drummer Barry Altschul. The guitarist for Live At Sweet Basil is John Abercrombie and the bass player is Red Mitchell. The group again visits Ornette Coleman's "When Will the Blues Leave," and outside of one of the pianist's originals, the set focuses on standards "My Old Flame," "My Foolish Heart," and "Lover Man." The last of these is a particularly gorgeous rendition that Bley starts alone as a slowly unfolding set of improvisations, before being joined by the rest of the ensemble. http://www.allmusic.com/album/live-at-sweet-basil-mw0000118062

Personnel: Paul Bley (piano, keyboards); John Abercrombie (guitar); Barry Altschul (drums).

Live At Sweet Basil

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Bob Wilber & The Scott Hamilton Quartet - Bob Wilber & The Scott Hamilton Quartet

Size: 136,7 MB
Time: 58:30
File: MP3 @ 320K/s
Released: 1993
Styles: Jazz
Art: Front

01. Riff (3:49)
02. Rocks In My Bed (4:12)
03. Between The Devil And The Deep Blue Sea (6:05)
04. Time After Time (3:18)
05. I Never Knew (4:04)
06. Jonathan's Way (4:15)
07. All Too Soon (4:54)
08. Freeman's Way (3:16)
09. Treasure (3:42)
10. Puggles (3:29)
11. Taking A Chance On Love (3:30)
12. 144 West 54Th (6:30)
13. Jazzspeak (7:20)

On this CD reissue, Bob Wilber (who triples on clarinet, soprano and alto) meets up quite successfully with the relatively young swing stylist Scott Hamilton (heard near the beginning of his career) and the tenor's rhythm section of the period (guitarist Chris Flory, bassist Phil Flanagan and drummer Chuck Riggs). Together they perform melodic and swinging renditions of six of Wilber's originals along with six veteran standards; the logical arrangements help to set up the solos. Also included on the reissue is a seven-minute "Jazzspeak" in which Wilber remembers how the date came about. Easily recommended to mainstream and small-group swing fans. ~by Scott Yanow

Bob Wilber & The Scott Hamilton Quartet 

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Linda Purl - Up Jumped Spring

Size: 104,4 MB
Time: 40:47
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. There'll Be Some Changes Made - Got A Lot Of Livin' To Do (Feat. Tedd Firth, Andy Burchschi & Mike Marlier) (3:08)
02. Anyplace I Hang My Hat Is Home (Feat. Tedd Firth, Todd Williams, Andy Burchschi & Nelson Rangell) (4:15)
03. Pick Yourself Up (Feat. Tedd Firth, Andy Burchschi & Mike Marlier) (2:04)
04. My Foolish Heart (Feat. Tedd Firth, Todd Williams, Andy Burchschi & Nelson Rangell) (4:47)
05. Nobody Else But Me (Feat. Andy Burchschi, Tedd Firth, Todd Williams & Nelson Rangell) (2:40)
06. I Wish You Love (Feat. Andy Burchschi, Nelson Rangell, Tedd Firth & Todd Williams) (3:51)
07. Starting Over (Feat. Andy Burchschi, Tedd Firth & Mike Marlier) (4:36)
08. Up Jumped Spring (Feat. Tedd Firth, Andy Burchschi, Nelson Rangell & Todd Williams) (3:26)
09. It Amazes Me (Feat. Tedd Firth, Andy Burchschi & Mike Marlier) (4:57)
10. Something's Coming (Feat. Tedd Firth, Andy Burchschi & Mike Marlier) (2:47)
11. If You Want The Rainbow (Feat. Tedd Firth, Andy Burschchi & Mike Marlier) (4:11)

This is a CD of fabulous musicians coming together and having a great time. Nelson Rangell one of the best saxophonists ever plays his heart out. Tedd Firth takes flight on the piano folding into Purl's soulful vocals like a best friend. These are classics from the American Songbook reinvented, rediscovered.

Linda Purl (born September 2, 1955) is an American actress and singer, perhaps best known for portraying Ben Matlock's daughter Charlene Matlock in season one of Matlock.

New Up Jumped Spring

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Marquis Hill - New Gospel

Size: 99,9 MB
Time: 36:33
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz
Art: Front

01. Law And Order (5:43)
02. The Believer (7:35)
03. New Gospel (5:24)
04. Autumn (5:12)
05. A Portrait Of Fola (4:08)
06. The Thump (4:32)
07. Bass Solo (0:53)
08. Goodbye Fred (3:02)

There's a new generation of jazz musicians brewing on the Chicago jazz scene, and with New Gospel, Marquis Hill has solidified himself as one of its leading trumpet players. Joined by several other young Chicago jazz musicians, Hill makes a bold move by filling his entire first release with his own compositions.

Hill's notable orchestrating skills are reminiscent of Booker Little with a modern edge, like that of Roy Hargrove. Even if it's something just as simple as a displacement of the beat on "Autumn," or voicing the saxophone above the trumpet on "The Believer," he finds that balance between demonstrating his ability to write interesting material while still allowing his musicians enough room to be creative. He also manages to reference the past without sounding dated or restricted in any way. A great example of this is "The Thump" which begins with a saxophone-trumpet duet, similar to something that Igor Stravinsky would write for winds, that moments later breaks into an R&B groove. Though much like Miles Davis has done in the past, Hill's choice to snap a tempo for a new section on "The Believer" breaks up the album's flow a bit and disturbs the atmosphere created.

The performances on this release should not be overlooked. At several points, Hill and altoist Christopher McBride share some great dialogue when handing off solos, especially going from saxophone to trumpet on "The Believer" and vice versa on "The Thump." Bassist John Tate is an absolute rock on this album, often times being the only rhythm section member playing during an intro or transition, and on a track that doesn't seem to fit with the rest of the album, he is the only performer on a selection called "Bass Solo." Hill highlights Tate's playing again in a trumpet and bass duet on the closing "Goodbye Fred," a tribute to the late Chicago saxophonist Fred Anderson.

With a very raw, organic sound, New Gospel has helped distinguish Hill in a Chicago jazz market that is becoming increasingly populated with new talent. This release is not only a product Chicago can be proud of but also a standard which those other young jazz musicians on the scene can look up to. ~by Alex Marianyi

Personnel: Marquis Hill: trumpet; Christopher McBride: alto saxophone (2, 3, 5, 6); Chris Madsen: tenor saxophone (1, 4); Kenneth Oshodi: guitar (1, 3, 4); Joshua Moshier: piano; John Tate: bass; Jeremy Cunningham: drums.

New Gospel   

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Alyssa Allgood - Lady Bird EP

Size: 159 MB
Time: 26:03
File: FLAC
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Yardbird Suite (4:47)
02. If You Never Come To Me (4:51)
03. Jaded (3:51)
04. If I Should Lose You (5:50)
05. Lady Bird (6:42)

Today scat is, literally, a dirty word. In a more polite age it was what Louis Armstrong did when he forgot the words to "Heebie-Jeebies."

Such was Pops' influence that, even though it was a mistake, soon everyone was doing it. After bebop kicked in, King Pleasure took things further when he first improvised wordlessly, then wrote down his own words to James Moody's solo on "I'm In The Mood For Love."

Others followed in the King's footsteps, most famously Lambert, Hendricks & Ross and—in a knockabout kind of way—Ella Fitzgerald.

With this, her first-ever record, Chicago vocalist Alyssa Allgood —just 23 years old—bravely attempts to revive the scat tradition. It will, hopefully, go some way to restoring the reputation of a word now most commonly used to denote a particularly disgusting form of pornography.

Backed by a cooking quartet led by organist Don Chase, Allgood displays her vocal chops to best advantage on the opener, Charlie Parker's "Yardbird Suite" from 1946, which Bird wrote in C and straight —or reasonably straight—4/4 time.

It has a wonderfully catchy melody and must be something of a showstopper when Allgood performs it in the Windy City clubs where she earns her keep.

She continues with one of Tom Jobim's lesser known but most poetic love songs, "If You Never Come To Me." There's a nice, laidback but assured guitar solo from Tim Fitzgerald on this one.

"Jaded," Allgood's own composition, is anything but; full of interesting melodic twists and turns. Alex Beltran turns in a fine, restrained solo on tenor saxophone.

Allgood has daringly added her own introductory verse to the old standard "If I Should Lose You and—more daringly still—penned a complete set of lyrics to Tadd Dameron's "Lady Bird." Written in 1939, this was the first song to feature what became known as the Tad Dameron Turnaround (Cm7, E flat m7, A flat m7, D flat m7).

And, with that—just five songs—it's all over. A quality-starved world hungers for more. ~Chris Mosey

Personnel: Alyssa Allgood: vocals; Don Chase: organ; Tim Fitzgerald: guitar; Alex Beltran: saxophone; Matt Plaskota: drums.

Lady Bird

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Yusef Lateef - The Doctor Is In And Out

Size: 104,9 MB
Time: 43:06
File: MP3 @ 320K/s
Released: 1976/2002
Styles: Jazz
Art: Front

01. The Improvisors (7:53)
02. Hellbound (6:36)
03. Mystique (7:39)
04. Mississippi Mud (2:51)
05. Mush Mouth (6:26)
06. Technological Homosapien (5:16)
07. Street Musicians (2:57)
08. In A Little Spanish Town (T'was On A Night Like This) (3:25)

In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary. For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on "Hellbound" that becomes a Latin funk tune; the airy, contemplative, and skeletal "Mystique," which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of "Mississippi Mud"; the completely out electronic musique concrète<\it> of "Technological Homosapien" that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on "In a Little Spanish Town." It's a weird way to end a record, but then, it's a weird and wonderful record. ~by Thom Jurek

The Doctor Is In And Out

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Greta Panettieri - Shattered

Size: 106,1 MB
Time: 45:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Shattered (4:42)
02. Oppure No (4:24)
03. Don't Know (5:38)
04. I'm In Love (4:15)
05. Non Ci Giurerei (5:55)
06. Life On Mars (3:16)
07. Look Back (5:51)
08. Pensamento Feliz (5:38)
09. Less Is More (5:43)

Da New York all’Italia, dai maggiori Festival e Club Italiani alla televisione. E’ una delle voci più incantevoli del panorama italiano e internazionale: Greta Panettieri, cresciuta artisticamente a New York, è una musicista dalla personalità vulcanica che sta facendo sempre più parlare di sé in Italia e all’estero. Non solo cantante e compositrice ma anche multistrumentista - suona il violino, la chitarra, il pianoforte - ed autrice di testi anche per le canzoni dei suoi colleghi (Gege’ Telesforo, Ainè). Il JAZZIT AWARD 2015 la consacra come una delle migliori cantanti jazz italiane e LA7 la chiama per più di venti puntate come ospite fissa del programma L’ARIA CHE TIRA. Attualmente è in tour con il nuovo e multiforme disco “SHATTERED-SGRETOLATA”.

Nel 2014 e nel 2015 ha conquistato stampa e pubblico calcando i maggiori club e teatri italiani con il suo “Viaggio in Jazz” attraverso i brani del suo ultimo album soul jazz “Under Control” e del suo acclamatissimo “Non Gioco Più” (Italian ’60 in Jazz), disco che rilegge i successi interpretati dalla grande Mina con uno stile del tutto inedito ed originale, riproponendo anche il virtuosissimo brano “Brava” grazie alle eccellenti doti vocali di Greta che duetta con il trombettista Fabrizio Bosso.
Album amatissimo dalle radio italiane, “Non Gioco Più” ha subito conquistato il pubblico italiano registrando il tutto esaurito in diversi teatri e club italiani, ma anche negli States su importanti stage tra cui il Rockwood Music Hall di New York. Dallo scorso “Non Gioco Più” è distribuito anche in Giappone dalle etichette Albore Jazz e Tower Records.

"Under Control" è un disco autobiografico racconta il passaggio dal management di una grande major a una dimensione più creativa e indipendente, dove trovare finalmente la dose libertà per realizzare la propria musica in modo autentico. Tra le illustri collaborazioni del disco, quella preziosissima di Larry Williams, celebre producer e arrangiatore per Al Jarreau, Michael Jackson (“Thriller”, “Off the Wall” e “Bad”) e Quincy Jones. “Viaggio in jazz” è anche il titolo della Graphic Novel pubblicata a dicembre 2014 da Edizioni Corsare, ispirata proprio all’avventurosa ascesa artistica di Greta durante gli anni vissuti a New York: un libro a fumetti che ripercorre l’inizio della sua carriera con la scoperta delle sue innate doti vocali, fino al suo ritorno in Italia che ha segnato l’inizio di una nuova fase professionale. Presentata già a Roma (alla Fiera Più libri più libri al Palazzo dei Congressi) e alla Feltrinelli di Via Appia) e in altre città italiane, la Graphic Novel sarà protagonista di una mostra giovedì 29 ottobre al Medimex 2015 di Bari, inaugurata proprio da un live di Greta Panettieri in duo con il pianista Andrea Sammartino.

A luglio 2015 è uscito il singolo “C’est Irreparable”, versione originale di "Un anno d'amore" scritta dall’autore italo-francese Nino Ferrer e resa celebre in Francia da Dalida, figura forte e, per molti versi, analoga a quella di Mina. Greta Panettieri la interpreta nella lingua originale, il francese, che svela nuovi significati rispetto alla versione italiana presente nel suo album "Non gioco più". Il singolo è stato presentato in prima assoluta live sul palco del Blue Note Milano il 5 luglio. Insieme al singolo è uscito anche il videoclip, scritto e interpretato insieme all'autore e attore Massimo Salari, che ne ha curato la regia continuando con lei una collaborazione iniziata diversi anni fa a Perugia, prima del suo trasferimento negli States Greta Panettieri: "Cantare "Un anno d'amore" in un'altra lingua ha trasformato completamente la canzone, il sentimento contenuto in essa e quindi anche la mia interpretazione: così come per le altre lingue in cui spesso canto in studio o in tour (inglese, brasiliano, spagnolo) ne sento la forte influenza sul timbro della mia voce, sul modo di emettere i suoni e su tutta la mia gestualità. La ricerca che ho compiuto su questa canzone mi ha fatto mettere a fuoco una realtà parallela a quella italiana, la Francia degli anni '60 e la voce di Dalida che con la sua eleganza e il suo carisma è stata per la Francia ciò che Mina è stata per l'Italia, ispirando una intera generazione di autori e interpreti."

Shattered

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