George Cables - Person To Person

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.2 MB
Styles: Bop, Piano jazz
Year: 1995
Art: Front

[6:12] 1. My Funny Valentine
[3:25] 2. I Told You So
[9:08] 3. Sweet Rita Suite
[5:33] 4. Blue Nights
[4:31] 5. A Foggy Day
[5:33] 6. I Remember Clifford
[3:22] 7. On Green Dolphin Street
[5:37] 8. Love Song
[3:52] 9. In A Sentimental Mood
[3:21] 10. In Walked Bud
[4:53] 11. Polka Dots And Moonbeams
[6:09] 12. Body And Soul

George Cables is widely recognized as a first call sideman, though the pianist has also recorded extensively as a leader. This 1995 session for Steeplechase is one of the rare times where he had a chance to record as a solo pianist. He avoids predictability in his interpretation of the oft-recorded "My Funny Valentine," beginning the piece in mid-song and offering a lush arrangement. Likewise, "On Green Dolphin Street" can sound hackneyed in the wrong hands, but his imaginative bassline makes the difference. Cables is equally impressive as an interpreter of well known jazz compositions. Benny Golson's "I Remember Clifford" incorporates double-time passages to keep the piece from becoming maudlin, while his playful take of Duke Ellington's "In a Sentimental Mood" is a virtuoso performance. Cables' originals include the driving, insistent "I Told You So" (which deserves amusing lyrics) and the powerful "Sweet Rita Suite," which has a tantalizing Latin undercurrent. ~Ken Dryden

Person To Person

---

Claire Daly - Movin' On

Bitrate: MP3@320K/s
Time: 67:07
Size: 153.6 MB
Styles: Saxophone jazz
Year: 2001
Art: Front

[4:20] 1. Softly As I Leave You
[4:35] 2. You Said It
[4:33] 3. Every Time We Say Goodbye
[7:03] 4. Goodbye
[4:59] 5. Smile
[5:40] 6. After You've Gone
[6:28] 7. If Ever I Would Leave You
[5:31] 8. Goodbye Porkpie Hat
[5:13] 9. Birdie Bye
[5:47] 10. A Bientot
[4:11] 11. Bye-Ya
[5:55] 12. Love Me Or Leave Me
[2:45] 13. Some Other Time

Since leaving the big band Diva and striking out on her own, baritone saxophonist Claire Daly has proved to be a terrific leader in her own right. Her ability to coax a consistently lyrical sound out of her somewhat ungainly instrument combined with her ability to put together a tight small group and a wide-ranging program are all factors that make this a very enjoyable session. The songs all center around the end of relationships, whether due to death, departure, or encouraging someone to leave. Although "After You're Gone" eventually picks up to the brisk tempo at which its normally played, Daly has fun playing around with the theme at a more relaxed pace, as if celebrating a pending breakup with some glee before calling it quits. "If Ever I Would Leave You" is so often played at maudlin tempos that Daly's brisk arrangement is a welcome departure, beautifully seasoned by the soft muted trumpet of guest James Zollar. In addition to the many other fine standards heard here, her emotional treatment of "Goodbye Porkpie Hat," a foot-patting interpretation of Billy Taylor's "A Bientot," and a playful run through Joel Forrestor's "Birdie Bye" add to the luster of this gem of a CD. Daly makes her recorded debut as a singer with very effective vocals on Charlie Chaplin's bittersweet "Smile" and a heartfelt take of Leonard Bernstein's "Some Other Time." The outstanding rhythm section of pianist Eli Yamin, bassist Dave Hofstra, and drummer Peter Grant provides the perfect chemistry for this very talented baritone saxophonist's well-crafted studio date. ~Ken Dryden

Movin' On

---

Gerald Albright - Kickin' It Up

Bitrate: MP3@320K/s
Time: 46:06
Size: 105.6 MB
Styles: Smooth jazz
Year: 2004
Art: Front

[4:24] 1. 4 On The Floor
[4:22] 2. To The Max
[4:31] 3. Why Georgia
[3:58] 4. Walker's Theme
[4:50] 5. Condition Of My Heart
[4:55] 6. Throw Yo' Hands (In The Air)
[4:54] 7. Father's Lullaby
[4:55] 8. On The One
[4:34] 9. Kickin' It Up
[4:38] 10. If You Don't Know Me By Now

It's hard to deny that saxophonist Gerald Albright often gave up playing "jazz" -- at least the snob definition -- in favor of urban radio and smooth jazz radio acceptance. During his years on the Atlantic label (1987-1997), his full-lengths contained big hits surrounded by lackluster songs. The exception was the "real jazz" album (snob definition again) Live at Birdland West, which kicked up the excitement a notch. After leaving Atlantic his first record for GRP, Groovology, was freer and more fun. Maybe it wasn't "real jazz," but it was really good. Nothing was so sweet and staid that it made you wince and the excitement was certainly back. Kickin' It Up continues along these lines, and if it isn't as well constructed as Groovology, it will at least keep the Albright faithful coming back. Albright still plays the jazz-pop that's kept him in the money, but once again he adds little flourishes and playful embellishments that are the textbook definition of jazz. A rotating group of musicians keeps the album from having any honest live feeling (no one ever "responds" to any of the other musicians), and there's almost as much drum programming as there is real drumming. The various groupings at least sound tight, and whenever Albright is coupled with Jeff Lorber he's extra effervescent. Former Boyz II Men vocalist Shawn Stockman pillow talks his way through the Brian McKnight-penned "Condition of My Heart" better than Justin Guarini did, and Albright's inspired arrangement and performance of John Mayer's "Why Georgia" captures the wistful, wandering spirit of the original. A couple formulaic numbers keep the record from being a total success, but there's less of it than during his worst Atlantic days and every song has at least one eyebrow-raising passage. The jazz elite will refuse to recognize him until he delivers another Birdland West, but they're missing his new voice, and judging by how comfy he sounds here, he probably shouldn't go back. Since going with GRP Albright finally added comfortable and freewheeling to amiable, smooth, and relaxed. A fair album -- like this one -- from the new Albright beats a very good one from the old, controlled Albright. ~David Jeffries

Kickin' It Up

---

Curtis Fuller - Curtis Fuller Meets Roma Jazz Trio

Styles: Trombone Jazz

Year: 1982

File: MP3@320K/s

Time: 39:46

Size: 93,2 MB

Art: Front

(6:46)  1. Impressions

(6:53)  2. R.E.D.'s Delights

(5:45)  3. Jazz Island

(8:22)  4. Naima

(6:43)  5. Afternoon In Paris

(5:16)  6. Blue Bossa

An overlooked 80s session from trombonist Curtis Fuller and a great one too  a record that really returns the player to the powerful presence we first loved in his albums of the late 50s and early 60s! Fuller's the leadoff solo instrument throughout working here with backing from the Roma Trio of Danilo Rea on piano, Enzo Pietropaoli on bass, and Roberto Gatto on drums all playing with that careful, classic vibe that maybe made the Italian scene in the 80s one of the richest on the continent. Curtis blows boldly, even at mellower moments often phrasing more like a trumpet than a typical trombonist and serving up lots of soulful sounds in the process. The set features a sublime reading of "Naima", plus "Blue Bossa", "Afternoon In Paris", "Red's Delights", and "Impressions". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/764034

Personnel:  Bass – Enzo Pietropaoli;  Drums – Roberto Gatto;  Piano – Danilo Rea;  Trombone – Curtis Fuller

Curtis Fuller Meets Roma Jazz Trio

---

Megan Hilty - It Happens All The Time

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 38:08
Size: 87,7 MB
Art: Front

(4:09)  1. It Happens All The Time
(3:34)  2. Be A Man
(3:38)  3. No Cure
(3:27)  4. Walk Away
(3:41)  5. Safe And Sound
(4:34)  6. The Blower's Daughter
(3:20)  7. Hopin'
(3:23)  8. Wise Up
(4:26)  9. The Heart Of The Matter
(3:51) 10. Dare You To Move

When It Happens All the Time was released, Megan Hilty was best known for her show-stopping turns in Broadway productions including Wicked and 9 to 5: The Musical, as well as her role as Ivy Lynn on NBC's musical-within-a-musical TV series Smash. However, the songs she chose for her debut album weren't show tunes or standards; they were contemporary pop with a capital P: a glance at the liner notes reveals songwriting credits for Ne-Yo, Carrie Underwood, and Glen Ballard. Her desire to bring something unexpected and perhaps more personal to It Happens All the Time is admirable, but Hilty's approach to these songs is too reverent and stripped of her best work's vibrancy and nuance. It doesn't help that the production and arrangements tend toward pop's milder side, draining more daring choices like Damien Rice's "The Blower's Daughter" and Taylor Swift's "Safe and Sound" of much of their rawness. It Happens All the Time succeeds with lighter fare such as the airy "Hopin'," the Ne-Yo and Underwood-penned "Walk Away," and the single "No Cure," which is one of the best examples of when this album gets the balance of intimacy and polish right. "Wise Up" is another highlight, with Aimee Mann's subtle songwriting allowing Hilty to deliver one of the album's most sophisticated vocal performances. Of course, she never sounds outright bad "Dare You to Move" and "Be a Man" showcase her powerhouse vocals particularly well but a lot of the album ends up underscoring that conveying the sentiments of a pop song isn't the same thing as portraying a character in a show tune (even if it's a particularly heartfelt one). As always, Hilty is a dynamic performer with a beautiful voice, but It Happens All the Time is often so sanitized that a livelier set of more traditional songs might have made for a better debut. ~ Heather Phares http://www.allmusic.com/album/it-happens-all-the-time-mw0002477577

It Happens All The Time

---

Junior Cook Quartet & George Coleman Octet - Stablemates

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 79:58
Size: 183,5 MB
Art: Front

( 5:28)  1. Sweet lotus lips
( 4:44)  2. The crucifier
( 4:46)  3. Not quite that
( 8:51)  4. Yardbird suite
(11:00)  5. Moment to moment
(11:00)  6. Green dolphin street
( 7:59)  7. Frank's tune
( 4:55)  8. Big George
( 5:05)  9. Joggin'
(10:31) 10. Body and soul
( 5:35) 11. Revival

Known as two of the pre-eminent modern mainstream tenor saxophonists of the '60s with Horace Silver or Miles Davis respectively, Junior Cook and George Coleman each blazed their own trails in post-bop jazz with styles and techniques that influenced their much more renowned peer, John Coltrane. These sessions from 1977 showcase the horn players in their prime of life, invigorated to play their own music, and surrounded with like-minded experts of contemporary expressionism that lifts this music to the rafters. Legitimate stablemates in the eight-piece group, Cook's quartet with the reliable pianist Mickey Tucker, and the mighty octet of Coleman featuring Cook split the program, and both consistently prove their distinctive mettle throughout. Cook's small ensemble offers the flowing modal waltz "Sweet Lotus Lips" with an outstanding solo from bassist Cecil McBee, the light shuffle "Not Quite That" similar to Duke Pearson's "Jeanine" with Cook in a restrained Coltrane-ish mode, while the outstanding modal version of Henry Mancini's "Moment to Moment" has a bossa nova feel and palpable Joe Henderson inferences. The band does "Yardbird Suite" with Cook's tenor, not alto as Charlie Parker played on his original, sporting fluid dynamics, executed in a loose fashion, and with a delightfully playful facade. Coleman's exceptional octet, with fellow Memphis musicians, alto saxophonist Frank Strozier and pianist Harold Mabern, baritone saxophonist Mario Rivera, and trumpeter Danny Moore form one of the great front lines of all time. 

But sheer talent is not so much the key as is their teamwork and innate ability to play these tough, intriguing, and uplifting charts. A crazy fast unison approach contrasting mad changes by Coleman and Cook hardly suggests the melody of "Green Dolphin Street," a unique touch that sets the tone for the octet. Drummer Idris Muhammad fires up "Big George" with a hard bop fervor rivaled only by Elvin Jones not surprising considering this track sounds like it is based on a merge of John Coltrane's "Giant Steps" and the Miles Davis classic "Tune Up." Rivera naturally underpins the Latin feel of a starkly dramatic "Joggin'," while the bright big-band feel of "Frank's Tune" suggests the progressive bent of the Thad Jones-Mel Lewis Orchestra. Coleman's octet saves the best for last, as "Revival" is an epic modal anthem, with Moore's burnished trumpet up front working in counterpoint with the other horns over a dense, delicious, and dramatic baseline reverting to a tuneful repeat phrase over constantly changing dynamics and shifting rhythms. It's one for the ages. Special kudos goes to Mabern, the glue of the band from a supportive rhythmic and melodic standpoint, and again to Muhammad for his intelligent design in navigating rhythm in a manner far from stock, standard timekeeping. 

This is an important album in many ways, not only for the status of Cook and Coleman, but for the highly original classic music that clearly is identified with the '50s, brought into contemporary times, and everlasting. ~ Michael G.Nastos http://www.allmusic.com/album/stablemates-mw0000311269

Personnel:  Lisle Atkinson – Bass;  George Coleman Octet - Primary Artist;  Junior Cook - Primary Artist, Sax (Tenor);  Frank Eyton – Composer;  Johnny Green – Composer;  Edward Heyman – Composer;  Harold Mabern – Piano;  Henry Mancini – Composer;  Cecil McBee – Bass;  Johnny Mercer – Composer;  Idris Muhammad – Drums;  Mario Mártires Rivera - Sax (Baritone);  Robert Sour – Composer;  Frank Strozier - Sax (Alto);  Mickey Tucker - Composer, Piano;  Azzedin Weston – Percussion;  Leroy Williams - Drums

Stablemates

---

Bob Rockwell Trio - Born To Be Blue

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 64:34
Size: 148,2 MB
Art: Front

(6:55)  1. Bye-Ya
(9:26)  2. Born To Be Blue
(6:13)  3. Gaslight
(6:02)  4. A Nightingale Sang In Berkeley Square
(6:18)  5. Bye Bye Baby
(8:09)  6. Jitterbug Waltz
(7:04)  7. The First Song
(8:02)  8. While We're Young
(6:22)  9. Dizzy's Business

Bob Rockwell (born May 1945, Miami, Oklahoma) is a jazz saxophonist. He was born in the United States but emigrated to Denmark in 1983, where he has lived since. Rockwell was raised in Minneapolis, and in his early career he toured the U.S. in various rock and rhythm and blues bands. He worked in Las Vegas in the late 1960s and early 1970s, then moved to New York City, where he played with Thad Jones and Mel Lewis, Tito Puente, Ben Sidran, Freddie Hubbard, Ray Drummond, Billy Hart, Rufus Reid, Victor Lewis, Ron McClure, Tom Harrell, Chuck Israels, John Hicks, Al Foster, Anthony Cox, Bill Dobbins, Keith Copeland, Clint Houston, and Richie Beirach. After settling in Copenhagen, Rockwell released a large number of albums on jazz label SteepleChase Records. He has also worked in Europe with Ernie Wilkins, Kenny Drew, Alex Riel, Marilyn Mazur, Kenny Wheeler, Jan Kasperson, and Jesper Lungaard. https://en.wikipedia.org/wiki/Bob_Rockwell

Personnel:  Andy LaVerne (piano), Jesper Lundgaard (bass), Bob Rockwell (tenor sax, soprano sax)

Born To Be Blue

---

Doug Webb - Bright Side

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:44
Size: 145,1 MB
Art: Front

(6:01)  1. Society Al
(5:49)  2. Silver Lining
(3:26)  3. The Drive
(5:14)  4. Bahia
(5:20)  5. Doctor Miles
(5:26)  6. Steak Sauce
(4:40)  7. Melody For Margie
(5:51)  8. Slo Mo
(4:45)  9. One For Hank
(4:18) 10. Lunar
(5:58) 11. Guess I'll Hang My Tears Out To Dry
(5:49) 12. Funky Medina

From one perspective, Doug Webb's Bright Side is basically twelve tracks clothed in very recognizable forms a few varieties of soul-jazz, a couple of heartfelt ballads, a taut bossa nova, and an array of middling and up tempo straight- ahead swingers. Although the material is thoroughly enjoyable, it's tempting to succumb to a nagging notion that its all been done countless times before, and then simply move on to a record by yet another brave soul planting his/her flag in the jazz tradition. Fortunately, what enables Bright Side to add up to something more than a competent, professionally executed jazz record, is a slew of highlights, bright moments, and outright cool stuff that populates every track. A quintet consisting of Webb's tenor sax, trumpeter Joe Magnarelli, guitarist Ed Cherry, organist Brian Charette, and drummer Steve Fidyk (all of whom have led dates for the Posi-Tone Records label) operates like a well-oiled machine. Listening to how nicely all of the parts fit together, and the fact that you can easily discern each player's contribution, are important facets of the disc's appeal. For instance, Cherry's work on the heads and his comping behind individual soloists are delivered in subtle yet decisive ways that add rich, distinctive flavors while taking up a minimum amount of space. The same can be said about Charette, whose primary concern is holding down the band's bottom, but, with due cause, asserts himself by means of vivid chords. Fully capable of inhabiting any role the music requires, Fidyk often jolts the band with thickset snare accents, frequently plays fluid, inconspicuous jazz time, and always executes smart, stimulating fills regardless of the type of groove.

Webb's voice as an improviser possesses real character regardless of the kind of song he's playing. Check out the R & B influenced "Society Al" for the way in which he gets down by himself at the onset of the track, pausing and briefly falling silent amidst a fair amount honking and shouting. Later on during his solo over the band's uncluttered funk, Webb executes notey runs, brief, tantalizing hesitations, quick, meaningful digressions, as well as broad, weighty tones and makes all of them sound like they belong in close proximity to one another. Magnarelli's solos particularly on "Steak Sauce," "Slo Mo," and "Lunar"  contain a fair measure of brassy power mixed with a kind of subdued, floating quality that feels emotionally vulnerable. Cherry possesses a unique, understated style, doling out notes with a soulful circumspection. His all-too-brief intro to "One For Hank" is the epitome of sparse perfection, so simple that it's easy to take it for granted. The guitarist's gift for making improvised lines sound both ephemeral and sturdy is also apparent throughout the gentle "Bahia," where every single note and chord breathes easy and carries an almost imperceptible weight. In the end, Webb and company make it simple to enjoy the music instead of indulging in critical hair splitting or fretting about stylistic proclivities and influences. ~ David A.Orthmann https://www.allaboutjazz.com/bright-side-doug-webb-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Doug Webb: tenor saxophone; Joe Magnarelli: trumpet; Brian Charette: organ; Ed Cherry: guitar; Steve Fidyk: drums.

Bright Side

---

Ed Polcer-Jim Galloway Big Five - At The Ball

Bitrate: MP3@320K/s
Time: 72:56
Size: 167.0 MB
Styles: Swing, New Orleans jazz
Year: 1998
Art: Front

[6:17] 1. At The Ball
[6:43] 2. Look For The Silver Lining
[5:08] 3. Song Of The Wanderer
[5:14] 4. I Cried For You
[7:44] 5. Tishomingo Blues
[6:06] 6. Seems Like Old Times
[3:41] 7. Doin' The New Low-Down
[6:23] 8. Judy
[5:40] 9. This Can't Be Love
[4:22] 10. Of All The Wrongs You've Done To Me
[5:21] 11. Roses Of Picardy
[5:49] 12. Too Late Now
[4:21] 13. When My Dreamboat Comes Home

Ed Polcer, cornet; Jim Galloway, soprano sax; Mark Shane, piano; Dick Waldburger, bass; and Joe Ascione, drums.

Ed Polcer is a consistently creative cornetist who has a knack for putting together first- rate bands. His playing and generous spirit are part of what makes At the Ball such an appealing recording. Polcer is joined on the marquee by Scotland born soprano saxophonist Jim Galloway as the Ed Polcer - Jim Galloway Big Five. Both Polcer and Galloway are well known pros in the dixie/swing world. Both also compliment each other musically, demonstrating a fine, vigorous rapport throughout. The tone combination of cornet and soprano sax is a treat especially during their intertwining solos and rapid exchanges. The third "old pro" of the group, Dick Waldburger on bass, is the solid ground beat of all the action. His rapport with his fellow rhythm section players is a highlight of the session. The youngsters of the group, Mark Shane on piano, and Joe Ascione on drums, are outstanding. Ascione is one of the most exciting drummers of the traditional jazz world. His solos are concise and intense, and his accompaniment is persistently imaginative. Check out his solo work on "This Can't Be Love." Few drummers have the combination of taste and touch that Ascione routinely displays.
Mark Shane has become so good of an accompanist and soloist that it's easy to take him for granted. He's a team player who often sets everyone else up with a subtle solo, and then provides intricately swinging comping that brings out the best in everyone. This is exactly what happens on "Doin' The New Low Down." This tune is also as interesting for Polcer's and Galloway's soloing as it is for the interaction of Shane & Ascione & Waldburger. Take a careful listen to Shane's highly intuitive rapport with Polcer on full display throughout their duet on Hoagy Carmichael's poignant composition "Judy."

Ah, to sit back and listen to a fine band play a long line-up of great old tunes - what more could a jazz fan want? At the Ball fits the bill, and is highly recommended. ~Mike Neely

At The Ball

---

The Good Fellas - Salute!

Bitrate: MP3@320K/s
Time: 62:25
Size: 142.9 MB
Styles: Swing, Jump blues
Year: 2000
Art: Front

[4:41] 1. Sing Sing Sing Minnie The Moocher
[2:59] 2. Ehgi, Cumparil
[3:07] 3. It Had Better Be Tonight
[2:10] 4. Tutto Pepe-Chilli Pepper
[3:29] 5. Little Mae
[3:19] 6. Il Bul In Fondo Al Viale
[2:53] 7. Che Fine Ha Fatto Sam
[2:41] 8. Sofisticated Ledar
[4:34] 9. Mojo Boogie
[1:56] 10. Julia
[4:48] 11. If You've Ever Loved A Woman
[6:24] 12. Oh Babe-Jump, Jive An' Wail
[2:50] 13. Love Of My Life
[3:02] 14. Is You Is Or Is You Ain't My Baby
[3:18] 15. Cara Cara
[2:00] 16. Bim Bam
[3:35] 17. Angelo Selvaggio
[4:30] 18. Hubba Dubba Song

The Italian American way to swing, blues and rock'n'roll. Just think at the heydays of Sinatra, Louis Prima, Tony Bennett and more, entertanining excited audience down at The Strip, Las Vegas.

Salute!

---

Mônica Vasconcelos & Nóis - Oferenda

Bitrate: MP3@320K/s
Time: 66:16
Size: 151.7 MB
Styles: Contemporary Brazilian jazz
Year: 2002
Art: Front

[3:16] 1. Arrastão
[4:46] 2. Ferrugem
[5:55] 3. A Olhos Nus
[4:33] 4. Down We Go
[4:13] 5. Zóio Azul
[3:44] 6. Saudade Blues
[3:35] 7. Thinking About Your Body
[5:24] 8. Banhos
[4:37] 9. The Doctor
[6:44] 10. Detalhes
[4:52] 11. Morro Acima
[4:50] 12. You
[3:23] 13. Xote Total
[6:20] 14. Dance, Will You

This is an exhilarating, joyous album confirming Monica's status as one of Brazil's top artists. It is the stunning mix of shifting currents and moods, marrying the lyricism and passion of Brazil with funky modern jazz and contemporary rhythms that makes this CD such a standout listing experience.

Oferenda

---

Various - Capitol Records From The Vaults: Love Letters

Bitrate: MP3@320K/s
Time: 74:15
Size: 170.0 MB
Styles: Easy Listening, Vocal
Year: 2000
Art: Front

[2:51] 1. Nat King Cole - (I Love You) For Sentimental Reasons
[2:58] 2. Margaret Whiting - Come Rain Or Come Shine
[3:06] 3. Andy Russell - Besame Mucho
[3:12] 4. Johnny Mercer - Candy
[2:32] 5. The Dinning Sisters - Love Letters
[3:01] 6. Nat King Cole - ou Call It Madness (But I Call It Love)
[2:55] 7. Johnnie Johnston - Laura
[3:10] 8. Margaret Whiting - Guilty
[3:01] 9. Jo Stafford - The Things We Did Last Summer
[2:52] 10. Andy Russell - Amor
[3:02] 11. The Pied Pipers - Mam'selle
[3:01] 12. Nat King Cole - I Miss You So
[2:57] 13. Martha Tilton - That's My Desire
[3:12] 14. Judy Garland - Old Devil Moon
[3:01] 15. Nat King Cole - What'll I Do
[3:08] 16. June Christy - Soothe Me
[2:57] 17. Andy Russell - Laughing On The Outside (Crying On The Inside)
[2:38] 18. Margaret Whiting - A Tree In The Meadow
[3:04] 19. Mel Tormé - You're Getting To Be A Habit With Me
[3:11] 20. Al Martino - Here In My Heart
[3:00] 21. Dean Martin - You Belong To Me
[3:04] 22. Bob Manning - The Nearness Of You
[2:45] 23. Helen O'Connell - Be Anything (But Be Mine)
[2:33] 24. Bob Eberly - You Are Too Beautiful
[2:52] 25. Nat King Cole - Somewhere Along The Way

This fourth installment of Capitol Records' label retrospective, Capitol From the Vaults, is hopelessly and head-over-heels devoted to love. The label presents a cornucopia of primarily post-WW II pop tunes that have become standards over time. This collection, subtitled "Love Letters," offers up 25 tracks about love: lost, found, forgotten -- and every other applicable emotion. With amour as a backdrop, this compilation contains hits from practically every pop music genre from the mid-'40 and early '50s. Among those strongly represented on this volume are soundtrack tunes from the stage and screen. These include Mel Tormé's "Your Getting to Be a Habit With Me" which was featured in two Warner Bros. films inspired by the Big Apple -- Lullaby of Broadway and 42nd Street. Another cinematic tribute to the five boroughs is also included with "What'll I Do" by Nat "King" Cole's Trio. This Irving Berlin composition was a Top 40 hit featured in the film The Big City. As with every Capitol From the Vaults installment, the focus of the package is on the songs which made the Hit Parade. 23 of the 25 tracks on Love Letters are in fact chart hits. "Candy" featuring Johnny Mercer and Jo Stafford, Margaret Whiting's "A Tree in a Meadow," and the leadoff track, "I Love You (For Sentimental Reasons)" featuring the Nat "King" Cole Trio are all certified Number One hits by Billboard magazine. The sound quality continues to deliver infinitely better quality recordings than what has previously been available -- that is if consumers could find them at all. Producer Billy Vera has once again inked some wonderfully insightful liner notes. This is a cleverly compiled addition to the Capitol From the Vaults series. ~Lindsay Planer

Capitol Records From The Vaults: Love Letters

---

Warren Greig - Here With You

Bitrate: MP3@320K/s
Time: 47:34
Size: 108.9 MB
Styles: Jazz-blues guitar
Year: 2009
Art: Front

[5:14] 1. Riley
[6:11] 2. Tankhouse
[4:00] 3. Empress
[5:44] 4. Two Part Strut
[5:30] 5. Turney
[3:55] 6. Elisa
[3:58] 7. Sebring
[6:55] 8. Here With You
[6:04] 9. Riley Reprise

Warren Greig is a Canadian Jazz Guitarist whose second album "Here With You" features all original material. On this CD Warren is accompanied by Paul Wiggins on Hammond B3 organ, Lindsay Prior drums, Byron Stoehr plays electric bass on four tracks and Mark Inneo plays drums on Riley and Tankhouse.

This album of contempory jazz has a strong blues influence but also features music in the latin, ballad and swing idioms. After playing a weekly club date Warren and Paul wanted to document the development of the music. Paul built a studio around his vintage Hammond B3 organ and it was decided to record only original material.

The CD is reviewed in All About Jazz by Robert Sutton. Here is an excerpt of the review: Warren Greig creates an atmosphere of intimacy on the aptly-titled Here With You. In this hypnotically captivating collection of original guitar instrumentals, Greig crumbles the walls that separate the artist from his audience. While the music isn't as introspective as one would expect from such a spare, naked setting, Greig's compositions are certainly personal and revealing; their wordless emotions open to multiple interpretations.

Here With You

---

Donald Harrison, Ron Carter, Billy Cobham - Heroes

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 65:06
Size: 152,1 MB
Art: Front

(6:14)  1. Heroes
(4:12)  2. Blues for the new millennium
(8:12)  3. My Funny Valentine
(5:53)  4. One Of A Kind
(8:01)  5. Double Trouble
(5:59)  6. Receipt Please
(6:33)  7. Candlelight
(3:57)  8. Solar
(4:43)  9. Free Style
(3:11) 10. Iko Iko
(8:06) 11. Straight No Chaser

Ron Carter, one of altoist Donald Harrison's heroes and the primary bassist on this recording, makes the point that Harrison comes from New Orleans, but doesn't insist that he does. Harrison approaches his tradition with a pure heart, and from his apprenticeship with Art Blakey and the Jazz Messengers in the mid '80s through his own leadership in the '90s, he has evolved an historical idiom into an absolutely contemporary, individual style. The title track kicks things off in the searching, striving style of a Wayne Shorter composition, with Harrison's other hero, Billy Cobham, clicking away on his cymbals, and Harrison's tone a bit edgier than elsewhere, accentuating the song's feeling of pursuit. Nothing else in the trio format, or in duet with Carter, reaches this level of urgency. The order of the day is swing and hard bop, with touches of Charlie Parker in the "I Got Rhythm" chords of "Double Trouble" and the Monk-like "Blues for the New Millennium," where Harrison's horn sounds more like a soprano aimed at the snake in the basket. Carter's bass is the dominant supporting voice on Heroes, offering a beautifully tasteful extended solo on a duet version of "My Funny Valentine," where you find yourself singing the words along with Harrison's perfectly rendered lead, and on "Solar," where Carter establishes a rapid tempo and Harrison keeps joyous pace. On "Candlelight," the album's most impressive cut, Harrison caresses the keys gently and romantically, subtly shifting tempo as if he were approaching his date seated on the couch, first suavely relaxed, then impatient, then with his composure regained. 

Heroes closes with three "bonus tracks" featuring a different trio with Vicente Archer on bass and John Lamkin on drums. With these two, the beats are heavier and the bass lines funkier. Lamkin hits hard on "Free Style," he and Archer handle the second-line rhythms of "Iko Iko" deftly, and Harrison's alto is as warm and sweet as peppermint liqueur. I realize Carter and Cobham are the stars of the show, but these two tracks along with the funky dip of a final "Well You Needn't" leave me looking forward to Harrison's next genre-stretching offering with his usual bandmates. ~ Jeff Stockton https://www.allaboutjazz.com/heroes-donald-harrison-nagel-heyer-records-review-by-jeff-stockton.php

Personnel: Vicente Archer: Bass; Billy Cobham: Drums; Donald Harrison: Alto Sax; John Lamkin: Drums; Ron Carter: Bass.

Heroes

---

Lori Williams - Healing Within

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 53:57
Size: 124,0 MB
Art: Front

(4:58)  1. Healing Within (Blue in Green)
(6:00)  2. Little Sunflower
(4:54)  3. How Can I Begin Again
(3:52)  4. Can't Explain
(0:45)  5. Perfect World Interlude
(4:29)  6. In A Perfect World
(4:53)  7. Held Hostage
(5:17)  8. Lay Your Body Down
(5:28)  9. I Can't Make You Love Me
(6:11) 10. Amazing Grace
(6:31) 11. Healing Within (Blue in Green) (Acoustic)
(0:34) 12. Where'd It Go

Lori A. Williams is a lot more than just a singer, songwriter, and performer. If you were to judge her on these things alone, you would have to conclude you where dealing with one of the finest artists of our era, an eventual legend and, I have no doubt, time will prove me right. I think music aficionados who listen to this project will agree that these tracks step her toward this destiny. Let me add a little fuel to this fire. Lori's lead vocal recording is all original - no vocal overdubs, no re-tracking, and almost no vocal fixes (come on... no one is perfect). When we recorded the material, I had her record "scratch vocals" with the intent of throwing them out and recording the REAL lead vocals later (as is customary). Well, that's not what happened... you are listening to the unaltered scratch vocal. Now I don't mean to insult anyone's intelligence; but everything we listen to these days has been altered, fixed, produced, tracked, squeezed, tuned and composited To Death!! NotT this recording. This is the real deal; and that makes this recording astounding because even if all the usual stuff was done, it would be a great cd. The honesty of this recording moves it into the amazing column. Not only is the lead vocal honest, but so is the rest of the recording. In fact, it's only a hair away from being totally live. Many songs are the first take. Now remember, I said that Lori is more than a singer, songwriter, and performer, because as we approached the end of the project, I started to realize her tremendous gift as a producer. Lori's lack of ego, and a willingness to recognize other peoples' abilities, and trust in both herself and those she works with, is a gift rarely seen. Not only does she have a voice and performance talent similar to a Judy Garland, but if she keeps producing recordings, she might also be compared to Quincy Jones. I could go on and on particularly concerning Lori's production capabilities, but lets just say that she is completely unaware of her ability... Like a duck to water, effortless and commanding. These traits show up in the product.After saying all this, I think the music says it better than I can; but the listeners need to know the circumstances behind this recording. It makes it all the more awesome. Brad Baerwald, Studio 51 http://www.cdbaby.com/cd/loriwilliamsmusic

Press Quotes:
“Lori Anne Williams has the sought-after combination of soul and technical prowess that reminds me of Ella Fitzgerald –a treat to any jazz fan’s ears.” ~ Nathaniel Rolnick, Muzikreviews.com

“Singer Lori Anne Wiliams, a dynamic presence throughout, offering exquisite wordless vocals . . .”~ Bill Milkowski, JazzTimes

“Lori Anne Williams adds the final stamp, showing her control and finesse with her weaving scat between the melodic lines.”~Jerry D’Souza, All About Jazz

“ . . . the talented and vocally acrobatic Lori Anne Williams. Her vocal scatting soars . . . Her tone and control are superb, and her inventiveness is inspired.”~ Ralph A. Mirello, Jazz.com

“Her voice is the kind of jazz singing I enjoy listening to, and the silkiness makes me want to hear that all day and night.”~ John Book, The Run Off Groove

"The evening's standout, vocalist Lori Williams, crooned most of the jazz standards with a smoke-and-honey voice."~ Lisa Traiger - The Washington Post

“Singer Lori Anne Williams is back with her warm and rich voice, and she’s as earthy as red clay, be it with lyrics, or without.” ~ George Harris, JazzWeekly.com

“ . . . vocalist Lori Anne Williams, whose vocals shine . . . rolls into a scat that's among the best I've ever heard... will bring a tear of joy (or more) to your eye, for sure.” ~ Dick Metcalf, Improvijazzation Nation

“Lori Anne Williams, as always, her joy in singing is unshakable.” ~ Michael J. West, Washington City Paper

“Saltman Knowles provides generous helpings of live instrumentation which complement the smooth, heartfelt vocals of Lori Williams.” ~ Shelton Ivany, National News Bureau

Healing Within

---

Joshua Redman - Beyond

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 73:38
Size: 169,2 MB
Art: Front

( 7:34)  1. Courage (Asymmetric Aria)
( 5:50)  2. Belonging (Lopsided Lullaby)
( 4:27)  3. Neverend
( 9:06)  4. Leap Of Faith
( 9:05)  5. Balance
(11:00)  6. Twilight ... And Beyond
( 6:13)  7. Stoic Revolutions
( 6:22)  8. Suspended Emanations
( 7:05)  9. Last Rites Of Rock 'N' Roll
( 6:52) 10. A Life?

Joshua Redman debuts a new quartet on this formidable set of originals. Pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson quickly establish themselves as a killer unit on "Courage (Asymmetric Aria)" and "Belonging (Lopsided Lullaby)", two fast and busy odd-metered romps. Interestingly, Redman plays alto on the latter, as well as on the gripping "Stoic Revolutions." Goldberg's solos are sparkling throughout, especially on "Courage" and the medium-fast "Last Rites of Rock 'n' Roll." Fellow tenor man Mark Turner sits in for the lively "Leap of Faith." The remaining tracks range from the inspired balladry of "Neverend" to the ineffable hipness of "Suspended Emanations." Although it is probably Redman's finest album to date, Beyond still doesn't rise to the level of true greatness in the field of composition. It would be hard for even a genius to measure up to the industry hype that has surrounded Redman for nearly a decade. But this makes it even more essential that critics evaluate Redman's work just as they would that of any other brilliant and hard-working, yet far more obscure, figure on the scene. This is not to take anything away from Redman, but rather to keep matters in their proper perspective. We might see Redman's face on far more magazine covers, but is his writing better than, say, Reid Anderson's or Patrick Zimmerli's? Redman himself would likely be the first to say no.~ David Adler https://www.allaboutjazz.com/beyond-joshua-redman-warner-bros-review-by-david-adler.php

Personnel: Joshua Redman (soprano, alto & tenor saxophones); Mark Turner (tenor saxophone); Aaron Goldberg (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Beyond

---

Skip Wilkins - Father & Son

Styles: Piano And Saxophone Jazz
Year: 2012
File: MP3@256K/s
Time: 55:49
Size: 102,6 MB
Art:

(7:40)  1. Witness & Muse
(7:22)  2. Elegant Lady
(5:33)  3. A House In the Village (Green)
(5:41)  4. Kindness
(4:17)  5. Message to Maruska
(7:35)  6. Reckless Not Feckless
(5:43)  7. And Now…
(6:07)  8. Butterfly of Steel
(5:46)  9. Not Really

Dan Wilkins' musical journey started at home, playing with his father, pianist Skip Wilkins.  First taken by the haunting ballads of Stan Getz and Dexter Gordon, Wilkins naturally took to the tenor saxophone.  Teachings of David and Caris Liebman, proved invaluable to his continuous musical pursuit.  In 2008, Wilkins moved to New York City to attend the Manhattan School of Music, where he studied with saxophonists Steve Wilson and Rich Perry, and pianists Garry Dial and Phil Markowitz. Throughout his tenure at MSM, Wilkins worked and toured with the collaborative group COLONY, performing around the New York area at 92nd St Y Tribeca, Cornelia St. Cafe, and the Iridium Jazz Club, among others.  In October 2012, Wilkins was featured as Artist of the Month at the Deer Head Inn in Delaware Water Gap. Internationally, Wilkins has been performing at clubs and festivals around the Czech Republic, Germany,  and Greece and educating at summer Festivals such as the Czech Jazz Workshop 2012 and 2013, and the Kryoneri Jazz Workshop 2013.

Father and Son, released on Steeplechase Look Out in 2011 features lyrical compositions by Skip Wilkins.  The two are complimented by bassist Scott Lee and drummer Jeff Hirshfield.  The quartet performs on stages such as the Deer Head Inn, the COTA Festival in Delaware Water Gap, and Lafayette College's Williams Center for the Arts. Currently, the Dan Wilkins Group features Patrick McGee on soprano saxophone, Vaughn Stoffey and Mike Bono on guitars, Kevin Bernstein and Dave Lantz on keyboards, Daryl Johns on bass, and Jimmy Macbride on drums.  This group is a vehicle for composition, breaking away from idiomatic instrumental roles observed in traditional and modern jazz. Wilkins believes in the power of spiritual rejuvenation and healing through the arts, and studies and practices neuro-muscular bodywork in Bethlehem, PA. http://www.danwilkinsmusic.com/about-1/

On Father & Son, Skip and his son Daniel join forces with the other members of Skip’s New York Trio, bassist Scott Lee and drummer Jeff Hirshfield, for a set of Skip’s compositions. A brilliant, young saxophonist, Dan studied at the Manhattan School of Music and is otherwise very active with a range of his own groups in New York and Pennsylvania, and as a sideman there and in Europe, where he has toured extensively. Together, Skip and Daniel have headlined at festivals and clubs in Prague, Berlin and beyond, playing music penned by each of them. https://www.amazon.com/Father-Son-Skip-Wilkins/dp/B0093OK572

Personnel:  Dan Wilkins (saxophone); Skip Wilkins (piano); Scott Lee (bass), Jeff Hirshfield (drums)

Father & Son

---

Al Caiola - The Caiola Connection: The Creative World Of Al Caiola

Size: 182,9+183,7 MB
Time: 77:26+77:47
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, Country, Rock
Art: Front

CD 1:
01. A String Of Pearls (2:48)
02. American Patrol (3:22)
03. Goodbye (2:49)
04. King Porter's Stomp (2:53)
05. Honky-Tonk (Part 2) (2:35)
06. Hearts Of Stone (1:59)
07. Tango Of The Roses (2:20)
08. Woodpecker Song (2:22)
09. Around The World In 80 Days (2:01)
10. Midnight In Moscow (2:44)
11. The Sound Of Music (2:24)
12. Cherokee (3:06)
13. Joey's Song (2:10)
14. Malaguena (2:12)
15. Dipsy Doodle (2:39)
16. Mambo Jambo (2:29)
17. It's A Sin To Tell A Lie (1:51)
18. Serenade In Blue (4:36)
19. Don't Worry 'Bout Me (4:48)
20. Moments Like This (5:02)
21. Early Autumn (4:11)
22. Black And Blue (3:40)
23. Indian Summer (5:00)
24. Blue The Night (4:20)
25. Drambuie (2:54)

CD 2:
01. Eager Beaver (2:52)
02. Begin The Beguine (2:53)
03. Jumpin' At The Woodside (2:53)
04. 720 In The Books (3:09)
05. Intermission Riff (2:41)
06. 9.20 Special (3:18)
07. Mexican Hat Dance (2:13)
08. Under Paris Skies (2:33)
09. Ram-Bunk-Shush (1:54)
10. Oh Marie (2:14)
11. Chitarra Romana (2:25)
12. Cumana (2:29)
13. I Love You (2:15)
14. Bim Bam Bum (2:38)
15. Idaho (1:36)
16. Hindustan (2:03)
17. El Cumbanchero (2:55)
18. Love Letters (4:09)
19. There'll Never Be Another You (3:53)
20. I Got It Bad (And That Ain't Good) (4:26)
21. Everything Happens To Me (4:30)
22. Deep In A Dream (4:35)
23. You Are Too Beautiful (4:18)
24. I Got A Crush On You (3:51)
25. Thunderbird (4:54)

Included is a wide spectrum of material from Caiola's work for RCA Victor, United Artists, and Savoy.

Caiola presents a creative approach to such dynamic titles as A String of Pearls, American Patrol, King Porter's Stomp, Hearts of Stone, Around the World in 80 Days, The Sound of Music, Mambo Jambo, Midnight in Moscow, Jumpin' at the Woodside, Hindustan, Honky-Tonk (Part 2), Malaguena, and a wide variety of other titles.

Each disc culminates with a highly-collectable full album Caiola recorded for Savoy Records in the mid-'50s.

This is definitely one of the greatest releases of all time of the works of the great AL CAIOLA!

The Caiola Connection CD 1
The Caiola Connection CD 2

---

Leesila Dawkins - Dreamer's Lounge

Size: 104,8 MB
Time: 44:57
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Feeling Good (Feat. Walter Beasley) (4:32)
02. Prelude To A Kiss (4:29)
03. My Funny Valentine (4:00)
04. Gee Baby, Ain't I Good To You (Feat. Charlie Austin & Rubim De Toledo) (4:24)
05. Summertime (4:50)
06. More Than You Know (4:48)
07. God Bless The Child (4:36)
08. Dream A Little Dream Of Me (3:14)
09. Georgia On My Mind (4:36)
10. Summertime Jam (Feat. Charlie Austin, Rubim De Toledo & Sandro Dominelli) (1:08)
11. Moon River (Feat. Audrey Ochoa) (4:16)

Dreamer's Lounge birthed from a dream to sing and record the beautiful Jazz ballads of the American Songbook. Leesila Dawkins, a music teacher, wife and mother of two boys, longed to fulfill this dream and share her gift.

Leesila's love of Jazz began in Vocal Jazz ensembles in high school and throughout university. Leesila performed at jam sessions at the local "Yardbird Suite" in Edmonton and completed training at the Stanford Vocal Jazz Residency in California.

The classic selections in Dreamer's Lounge exemplify Leesila's smooth, authentic, warm and captivating sound which draw emotion and bring connection. Leesila's vocals will touch your soul with her power and grace.

Leesila Dawkins is accompanied by a stellar Jazz trio with Charlie Austin on piano, Rubim de Toledo on bass, Sandro Dominelli on drums, featuring Walter Beasley on saxophone and Audrey Ochoa on trombone. Sandro Dominelli mixed, mastered and produced the album. Dreamer's Lounge was recorded at Edmontone by Owen Hamilton and additional tracking at Dominelli Studios.

Charlie Austin says, "Leesila is a bright shining light of a personality who deeply understands the value of a positive outlook! The same light that shines out of her eyes is expressed in her beautiful voice and her personal insight into every lyric she sings. Leesila sings from the heart and truly raises the self esteem of anyone who listens to her perform."

Dreamer's Lounge

---

Her Name & Mine - Live In Copenhagen

Size: 100,3 MB
Time: 36:48
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Turtle Blues (4:13)
02. Blue Drag (3:55)
03. Comes Love (4:38)
04. Everybody Loves My Baby (1:36)
05. My Funny Valentine (3:16)
06. Hesitation Blues (3:25)
07. Fine And Mellow (4:23)
08. When I Get Low I Get High (3:25)
09. Cry Me A River (4:43)
10. Satan Your Kingdom Must Come Down (3:09)

Vocalist Pernille Koch was born in Jylland and grew up on the island of Bornholm in the Baltic sea. Pernille began singing at the age of 6 and was quickly singled out as a child soloist in various local projects. When she in her early teens heard Billie Holiday her heart was lost to vocal jazzmusic and the blues. 18 years old, she became leadsinger in a local jazzband with a regular spot every friday. She has forever kept performing in number of contexts, by full force as a singer, but with a notable addition of acting and dancing. Pernille ’s influences is jazz from the early 1900's til 1950'ies and her main inspirations are Billie Holiday, Bessie Smith, Dinah Washington and Ella Fitzgerald. Her voice is raw and unschooled, and she puts great pride in interpretation of the lyrics and improvisation on the melody, and strives allways to keep authenticity in her expression as a singer.

Guitarist Fredrik Mikkelsen, born 1981 in Bergen, Norway. Largely, he is an autodidact musician, apart from specializing in music during high school, which he claims gave him the fundamental tools to understand music and continue studying on his own accord. His musical career has brought him through a variety of genres, including traditional styles like balkan, klezmer, arabic and east african music.The latter years however, has been spent mainly with studying jazz of the swing era inspired by guitarists like Django Reinhardt, Charlie Christian and Barney Kessel. Paralell though, he has been sampling the world of bluegrass, american folk, and of course, the blues.

He maintains a solid technical proficiency on both the guitar and lap steel guitar, but his most interesting musical point is his lack of musical indoctrination. Together with his ability to draw upon the different styles he has visited over the years, he creates an innovative and personal sound.

Live In Copenhagen

---