Barbara Cook - Sings From The Heart

Bitrate: MP3@320K/s
Time: 40:40
Size: 93.1 MB
Styles: Vocal
Year: 1959/2004
Art: Front

[2:46] 1. You Have Cast Your Shadow On The Sea
[2:52] 2. I Didn't Know What Time It Was
[4:02] 3. My Funny Valentine
[1:39] 4. Nobody's Heart Belongs To Me
[4:38] 5. Ship Without A Sail
[3:58] 6. Dancing On The Ceiling
[3:17] 7. Little Girl Blue
[2:48] 8. It Never Entered My Mind
[2:55] 9. There's A Small Hotel
[3:29] 10. Glad To Be Unhappy
[4:02] 11. He Was Too Good To Me
[4:10] 12. Where Or When

After years of favorable notices in Broadway musicals that flopped -- Flahooley (1951), Plain and Fancy (1955), Candide (1956) -- sweet-voiced soprano Barbara Cook finally got lucky with 1957's smash hit from The Music Man. The resulting notoriety brought her the opportunity to sign with tiny Urania Records, which released her debut album, Songs of Perfect Propriety, and this follow-up. Sings From the Heart contained a pun in its title, since Cook was singing the lyrics of Lorenz Hart, set to the melodies of Richard Rodgers, songs taken from the team's shows of the 1920s, '30s, and '40s. The singer made excellent choices, including standards like "My Funny Valentine" and "Glad to Be Unhappy," along with lesser-known selections such as "You Have Cast Your Shadow on the Sea" and "Ship Without a Sail." Her warm, delicate voice was well-suited to these romantic ballads, though she did not yet sing with the degree of feeling she would possess in later years. (The great exception was "He Was Too Good to Me," sung with all the plaintive emotion the lyric demanded). Orchestrator/conductor Arthur Harris gave her supportive, unobtrusive musical settings that kept the spotlight on that wonderful voice. Cook made a point of singing the introductory verses to the songs (usually dropped by pop singers), which lent them greater context and meaning. The album gave fans previously forced to listen to isolated examples of Cook's talent on cast albums the opportunity to have a full collection of her work, and it demonstrated that her belated stage success was well deserved. ~William Ruhlmann

Sings From The Heart

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Ryan Whitehead - S/T

Bitrate: MP3@320K/s
Time: 31:30
Size: 72.1 MB
Styles: Smooth jazz
Year: 2012
Art: Front

[4:55] 1. On The Clock
[6:01] 2. Ba-Dee-Dum
[1:55] 3. Incandescent
[5:06] 4. Dreamin' (Feat. Joe Gransden)
[4:26] 5. Sam's Jig (Feat. David Ellington)
[4:39] 6. Transmigration
[4:25] 7. On The Clock (Alt. Take)

The CD, self-titled, "Ryan Whitehead", is New Jazz. Among the players are some of Atlanta's finest including David Ellington, Marlon Patton and Mark Strowbridge. The first track sums up what Ryan has been doing with his life since his departure from school. "I didn't choose the music as much as it chose me. Atlanta is a groove-oriented town with a steep history in R&B and soul. My passion for jazz and fusion mixes with this like a smooth cocktail."

Ryan Whitehead

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Jerry Jeff Walker - Jerry Jeff Jazz

Bitrate: MP3@320K/s
Time: 42:41
Size: 97.7 MB
Styles: Country jazz vocals
Year: 2003
Art: Front

[2:47] 1. How Long Has This Been Going On
[2:35] 2. It's Always You
[2:26] 3. That Old Feeling
[2:25] 4. I Fall In Love Too Easily
[3:55] 5. My Funny Valentine
[1:47] 6. Takin' A Chance On Love
[4:14] 7. Everything Happens To Me
[2:56] 8. In The Wee Small Hours
[3:50] 9. Cottage For Sale
[2:54] 10. But Not For Me
[2:43] 11. There Will Never Be Another You
[3:39] 12. Time After Time
[3:45] 13. I Get Along Without You Very Well
[2:40] 14. Look For The Silver Lining

As wild as his career has been, at this stage -- after almost a decade of playing it so safe that his music has sounded like an empty golf course -- Jerry Jeff Walker has guts. No, that's not a cheap shot. Willie and Waylon may have gotten most of the credit, but Walker was the man who really brought country music, particularly Texas country music, to the rock generation. His 1970s records were nothing less than revelatory and had the ability to bring a lot of disparate people together. In the 1980s, he lost his way and made a caricature of himself; in the 1990s, at least in the early to middle part, he put out a series of records that showed the old magic in places. Here, Walker does the unthinkable, the most radical thing he's ever done, and comes up with an album that sounds more like a Jerry Jeff album than anything since 1980. For Jerry Jeff Jazz, the man and his small band -- Mitch Watkins and Tommy Nash on guitars, Steve Meador on drums, bassist Spencer Starnes, and Walker on vocals only -- took two days to record 14 classic American jazz standards and pop songs. How classic? Gershwin's "How Long Has This Been Going On?" and "But Not for Me," Sammy Cahn's "I Fall in Love Too Easily" and "Time After Time," Rodgers & Hart's "My Funny Valentine," the Adair/Dennis gem "Everything Happens to Me," and Hilliard/Mann's "In the Wee Small Hours," among others. Chet Baker, Sinatra, Tony Bennett, even Dino Martin are heavy influences here. Vocally, Walker doesn't measure up, but as a stylist he's singular. In other words, like all of the aforementioned singers, Walker makes these songs his own, even when he's flat occasionally and his voice quavers in the upper registers -- because Walker's now almost a bass rather than baritone vocalist after a lifetime in honky tonks -- or he rolls through the phrasing. Walker manages to imbue these fine tunes with a sense of romance, good-time sensibility, and only a modicum of sentiment. He sings them naturally and simply has a fine time, which makes the entire album an absolute pleasure to listen to. The band swings, floats, and punches through the mix wherever necessary and helps him out when the vocal is particularly tough. While purists will no doubt savage such a labor of love and delight, everybody else -- those who've loved Walker's work off and on over the decades and those who love to hear a unique stylist sing a good song -- will find Jerry Jeff Jazz to be its own swing of delight. ~Thom Jurek

Jerry Jeff Jazz

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Barney Kessel - Live At The Jazz Mill 1954

Bitrate: MP3@320K/s
Time: 44:03
Size: 100.8 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[5:34] 1. Strike Up The Band
[6:40] 2. How About You
[4:44] 3. Get Happy
[3:51] 4. Stardust
[5:36] 5. Seven Come Eleven
[7:44] 6. Rose Room
[3:50] 7. Somebody Loves Me
[6:00] 8. Embraceable You

Bass – Gene Stoffell; Drums – Art Kile; Guitar – Barney Kessel; Piano – Pete Jolly.

Unearthed tape from a jazz icon. Thanks to a 21-year-old with a tape machine, we can all experience the majesty of guitar legend Barney Kessel at his 1954 best! Even if you don't know Barney Kessel, you know Barney Kessel -- as a first-string member of the group of LA session musicians nicknamed "The Wrecking Crew," Kessel's guitar is heard on just about every LA-based hit you'd care to name from the 60s, including songs by the Monkees and The Beach Boys' legendary Smile LP. And that's Kessel's playing on the famous "fight music" from the Star Trek TV series. He was regarded as the very best of the session guitarists by just about everyone around, and guitarists everywhere site him as an influence.

But before he played rock and roll, Kessel was a jazz pioneer -- as one of the leading lights of the hard-bop movement, his jazz guitar was legendary, and he was ranked the No. 1 guitarist in Down Beat and Playboy for numerous years. He played with Sonny Rollins and Oscar Peterson (and Chico Marx -- yes, that Chico Marx!) as well as leading his own super-tight group. On albums such as The Poll Winners, Kessel defined the bop style with a jazz "power trio," creating a body of work that made him a legend.

Live At The Jazz Mill is a unique artifact -- recorded on a tape recorder by young jazz fan Jack Miller, this live recording catches Barney Kessel in the middle of his run at the Jazz Mill with a great four-piece band. The collection, gleaned from a couple of nights' best recordings, features Kessel's spirited take on such Songbook classics as "Get Happy" and "Stardust," not to mention the Gershwin great "Embraceable You." It’s pressed on red vinyl, and on compact disc and wrapped in a sleeve which captures the unique vibe of jazz graphics of the 1950s. Get with Barney Kessel, and get with a true pioneer of the jazz form!

Live At The Jazz Mill 1954

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The Temptations - Playlist + Plus (3-Disc Set)

A decent collection for the casual fan that wants the hits covering all of the Temptations' stellar career, with just enough depth to make it more worthwhile than the typical Temptations collection.

A few tracks are conspicuous by their absence however, such as "You've Got To Earn It", "Why Did She Have to Leave Me (Why Did She Have to Go?)", "Happy People", "Glasshouse" & several others. The worst offense is the inclusion of the single version of "Hey Girl (I Like Your Style)", which removes over a minute of the song as released on the album, including the gorgeous sax work that glides all through the song & gives it much of it's appeal. "Emperors Of Soul" is still the best anthology of the Temptations that exists, but if you don't want to or can't spend the money for it, this will suffice in a pinch. ~Mark Moore

Album: Playlist + Plus (Disc 1)
Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Motown Soul, AM Pop
Year: 2008

[2:39] 1. The Way You Do The Things You Do
[2:54] 2. I'll Be In Trouble
[2:49] 3. The Girl's Alright With Me
[2:17] 4. Girl (Why You Wanna Make Me Blue)
[2:42] 5. My Girl
[2:55] 6. It's Growing
[2:50] 7. Since I Lost My Baby
[3:00] 8. My Baby
[2:48] 9. Don't Look Back
[2:37] 10. Get Ready
[2:30] 11. Ain't Too Proud To Beg
[2:21] 12. Beauty Is Only Skin Deep
[2:26] 13. (I Know) I'm Losing You
[3:05] 14. All I Need

Playlist + Plus (Disc 1)

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Album: Playlist + Plus (Disc 2)
Bitrate: MP3@320K/s
Time: 48:29
Size: 111.0 MB
Styles: Motown Soul, AM Pop
Year: 2008

[2:56] 1. You're My Everything
[2:36] 2. (Loneliness Made Me Realize) It's You That I Need
[2:46] 3. I Wish It Would Rain
[3:31] 4. I Could Never Love Another (After Loving You)
[3:28] 5. Cloud Nine
[3:06] 6. I'm Gonna Make You Love Me
[4:45] 7. Runaway Child, Running Wild
[4:44] 8. Don't Let The Joneses Get You Down
[2:51] 9. I Can't Get Next To You
[3:51] 10. Psychedelic Shack
[4:02] 11. Ball Of Confusion (That's What The World Is Today)
[3:45] 12. Just My Imagination (Running Away With Me)
[2:51] 13. Superstar (Remember How You Got Where You Are)
[3:09] 14. Take A Look Around

Playlist + Plus (Disc 2)

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Album: Playlist + Plus (Disc 3)
Bitrate: MP3@320K/s
Time: 54:36
Size: 125.0 MB
Styles: Motown Soul, AM Pop
Year: 2008
Art: Front

[6:56] 1. Papa Was A Rollin' Stone
[4:20] 2. Masterpiece
[3:27] 3. Hey Girl (I Like Your Style)
[2:37] 4. Let Your Hair Down
[3:52] 5. Heavenly
[4:01] 6. Shakey Ground
[4:07] 7. Power
[4:21] 8. Standing On The Top
[4:14] 9. Treat Her Like A Lady
[4:33] 10. Lady Soul
[4:45] 11. Stay
[7:19] 12. This Is My Promise

Playlist + Plus (Disc 3)

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Dick Cary & His Tuesday Night Friends - Playing Dick Cary Originals

Bitrate: MP3@320K/s
Time: 61:40
Size: 141.2 MB
Styles: Swing, Dixieland
Year: 1996/2006
Art: Front

[3:51] 1. Ding
[2:22] 2. Henry
[3:27] 3. Kreik
[5:39] 4. Bud
[4:00] 5. Fugue
[4:11] 6. Black Shadow
[3:19] 7. Fritz
[3:37] 8. Another January
[6:25] 9. Vallen's Waltz
[5:06] 10. 8th Avenue Rag
[6:20] 11. Thursday Blues
[6:25] 12. Pong
[3:38] 13. Tuxford
[3:13] 14. M And M

Given multi-instrumentalist and composer/arranger Dick Cary's long career as a sideman with Louis Armstrong, Bobby Hackett, Bud Freeman, and Eddie Condon, it is interesting to learn of his more recent activities as a rehearsal band leader. Beginning in the mid-1970s and continuing through 1994, the year of his death, Cary wrote some 1500 original compositions and arranged them specifically for a select group of Los Angeles' busiest jazz studio musicians, who would in turn gather at his home every Tuesday to run through the latest scores. Each one a new reading and blowing experience, the arrangements would be checked for accuracy of notation, rehearsed to a state of perfection, and then put aside to make room for the next batch. There was seemingly no limit to Cary's productivity.

In addition to writing all of the 14 swinging originals for the several 1993 recording dates that comprise this release, Cary also plays electric piano and section trumpet, leaving the solo spots to trumpeters Betty O'Hara, Bob Summers, and Dick Forrest, trombonist Dick Hamilton, clarinetist Abe Most, and saxmen Fred Cooper, Tommy Newsom, and Terry Harrington. Besides Cary, the always kicking rhythm section includes guitarist Dave Koonse, bassist Herb Mickman, and drummers Jerry McKenzie and the late Gene Estes. For the most part, Cary's charts leave generous space for improvisation, while the through-composed sections sometimes recall the harmonic and rhythmic signatures of Beiderbecke, Ellington, and Basie. Although not an experimentalist in terms of structure, meter, or harmony, Cary did have an excellent ear for voicing and a flawless grasp of swinging time notation. ~Jack Sohmer

Playing Dick Cary Originals

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Shirley Horn - Wild Is The Wind

Bitrate: MP3@320K/s
Time: 36:42
Size: 84.0 MB
Styles: Vocal jazz
Year: 1960/2016
Art: Front

[2:09] 1. Just In Time
[2:55] 2. Come Rain Or Come Shine
[3:23] 3. If I Should Lose You
[3:44] 4. Wild Is The Wind
[2:34] 5. Day By Day
[3:34] 6. Blue City
[3:40] 7. God Bless The Child
[2:19] 8. Mountain Greenery
[3:03] 9. I Thought About You
[3:22] 10. Softly As In A Morning Sunshine
[3:21] 11. He Never Mentioned Love
[2:32] 12. Like Someone In Love

Shirley Horn (p, v), Joe Benjamin, Lewis Packer (b), Herbie Lovelle, Harry T. 'Stump' Saunders (d).

About the song: Wild Is The Wind was the title song from the 1957 film of the same name starring Anthony Quinn, Anna Magnini and Anthony Franciosa. It was written by composer Dimitri Tomkin and lyricist Ned Washington. Washington wrote the words for Jazz Vocal classics such as Stella By Starlight, I’m Getting Sentimental Over You, The Nearness Of You and On Green Dolphin Street. All of these were recorded by Ella Fitzgerald (amongst others) the latter with Louis Armstrong. Washington also wrote the words for Gene Pitney’s hit, Town Without Pity from the film of the same name. He was nominated more than ten times for an Academy Award, he won twice, once for the classic When You Wish Upon A Star from Pinocchio and the other for High Noon’s Do Not Forsake Me Oh My Darlin’ – lyrics you know but didn’t know were his.

The song was originally sung by Johnny Mathis for the film but it has been recorded many times. Nina Simone recorded it in 1959 on Live At Town Hall, Shirley Horn recorded a Julie London like version in 1960. ~Marty Willson-Piper

Wild Is The Wind

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The Claude Williamson Trio - Autumn In New York

Bitrate: MP3@320K/s
Time: 56:46
Size: 130.0 MB
Styles: Bop, Piano jazz
Year: 1995/2007
Art: Front

[8:17] 1. Linear Motion
[7:22] 2. Autumn In New York
[4:19] 3. Samba Lhasa
[5:49] 4. Manhattan
[4:15] 5. News From Blueport
[3:39] 6. I Want To Be Happy
[5:59] 7. Moonlight In Vermont
[4:43] 8. Crow's Other Nest
[4:39] 9. How About You
[7:39] 10. Over The Rainbow

Bass – Bill Crow; Drums – David Jones; Piano – Claude Williamson. Recorded April 22 & 23, 1995.

Claude Williamson and his trio of Bill Crow and David Jones join together to bring an album full of favorite standards as well as a few originals to their jazz-loving fans.

Autumn In New York

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Alan Paul - Shu Bop

Bitrate: MP3@320K/s
Time: 30:07
Size: 69.0 MB
Styles: R&B, Doo-wop
Year: 2015
Art: Front

[2:55] 1. So Much In Love
[2:05] 2. Lonely Way
[2:52] 3. All Of A Sudden (My Heart Sings)
[3:19] 4. To Be Loved
[4:17] 5. Shu Bop
[2:22] 6. Can I Come Over Tonight
[2:44] 7. Only You
[3:55] 8. A Cottage For Sale
[5:34] 9. I'm A Fool To Want You

Wishing you all a very happy, healthy and abundant year! I am very excited to share with you the exclusive release of my solo album, Shu Bop! Shu Bop pays tribute to classic doo-wop and popular music from the 1950’s and early 60’s. It also features two songs that were arranged and conducted by the legendary Ray Ellis who worked on the critically acclaimed Billy Holiday LP, A Lady In Satin. Many thanks for your continued support. Enjoy! ~Alan

Shu Bop

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David Hazeltine Trio - Burt Bacharach Songbook: Alfie

Bitrate: MP3@320K/s
Time: 57:52
Size: 132.5 MB
Styles: Piano jazz
Year: 2006
Art: Front

[4:34] 1. In Between The Heartaches
[5:12] 2. Raindrops Falling On My Head
[5:21] 3. The Look Of Love
[4:04] 4. Walk On By
[6:34] 5. A House Is Not A Home
[7:47] 6. This Guy's In Love With You
[6:22] 7. What The World Needs Now Is Love
[5:45] 8. Alfie
[6:06] 9. I Say A Little Prayer
[6:04] 10. Close To You

David Hazeltine (piano); David Williams (bass); Joe Farnsworth (drums).

David Hazeltine is a prolific pianist who releases at least one leader album a year, in addition to his work as a sideman and a member of well-known groups such as One For All. It is astonishing that his numerous CDs are never dull or boring. There is no doubt that he is at the most creative and productive stage of his career. In the past, Hazeltine has released several "songbook" CDs from Venus Records, paying tribute to pianists and composers such as Bill Evans, Bud Powell and Horace Silver. This CD is a Burt Bacharach songbook. As usual, Hazeltine shows off his impressive arranging skills and reimagines such Bacharach classics as "The Look of Love," "Walk on by," "This Guy is in Love," "Alfie" and "Close to You."

Hazeltine's crisp and assured piano performance is creatively supported by his bandmates and fellow One For All members, David Williams and Joe Farnsworth. Recorded at The Studio in New York in March 2006. Engineered by Katherine Miller. Mixed and Mastered by Venus 24-bit Hyper Magnum Sound.

Alfie

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Denny Earnest - Songbook

Bitrate: MP3@320K/s
Time: 57:25
Size: 131.4 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:14] 1. There's Always Love
[3:34] 2. Out Of The Blue
[3:52] 3. Let's Give It A Whirl
[3:16] 4. Black Eyed Susan
[2:58] 5. Day At A Time
[4:14] 6. It's Not True
[3:47] 7. Paradise Lost
[4:30] 8. Velvet Afternoon
[3:29] 9. Zen Garden
[3:21] 10. Yin Yang
[4:16] 11. Leg Up On You
[5:46] 12. Sonoran Holiday
[3:53] 13. I'm Lost In You
[2:38] 14. Upright Piano Jazz
[4:30] 15. Mickey The Fin

"I currently live near the college town of Bozeman MT, and a few years ago I met Alan Fauque Jazz saxophonist, Mike Gillan percussionist and pianist Bob Britten. I started using them in my sessions, we recorded a whole bunch of jazz tunes that are with various Publishers out there. That's when I got the "Earnest Songbook" idea. I dedicated a whole year to just writing Jazz tunes with vocals, I tried to see how far i could take it. The first of these I wrote was "Velvet Afternoon" I said to myself "This feels a little different and I tried to stay in the feel" The CD has a "Cocktail" feel 'Warning you are entering the "Frank" Zone', dress good and don't screw up, keep your composure. My favorite tune on the songbook is "Let's Give It a Whirl" where I stumbled upon using different vocal styles conjuring up "Dino", Satchmo, and "Frank" of course set in Vegas, "roll the dice and watch em curl", that was my writing approach, roll the dice and see what happens. Rather than "writing, I think I'm a guy who likes to put together changes that are fun to play against and sing. Also I included a "Tom Waits" style song, me and Alan came up with this odd tune I call it "Guy Noir Music" after Garrison Keilors radio character, I thought what the hell Diana Krall did "Temptation" so I'll include "Mickey the Fin" its in the same vain, "Who's that in the alley, looking so cool"......

Composing Jazz is usually done on piano, so I had to think piano in my head and try to play it accordingly. I usually don't like "guitar" jazz as it makes me think of the Weather Channel or being on hold on the phone. That being said, I still do love Wes, Joe Pass and all that, but I was trying to be the Composer - Vocalist - Arranger, so I let Alan and Bob Britten do most of the solo work." There's 3 instrumentals on the CD too, Alan gets to strut his stuff on the drifting "Zen Garden" showing off his Alto Chops, along with Denny's old Bassist from Cleveland Bill Watson, "Upright Piano Jazz" features Bob Britten on the upright Piano again with Bill on Bass, and the cool "Black Eyed Susan" a smoky textured tune with all the above and Denny on the Upright Bass., Denny and his band can be found playing in clubs and getting people on the a crowded dance floor with, a combination of Roots Jazz, Swing, Blues.

Songbook

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Greg Skaff - Blues And Other News

Bitrate: MP3@320K/s
Time: 50:54
Size: 116.5 MB
Styles: Jazz guitar
Year: 1996
Art: Front

[5:26] 1. Walk The Walk
[4:51] 2. Johnny Come Lately
[3:34] 3. Red Dirt
[6:06] 4. My Man's Gone Now
[6:30] 5. Ya Dig
[4:57] 6. In Walked Bud
[5:43] 7. Knaptown Vibe
[3:32] 8. Comin' At Ya
[6:12] 9. Highway 70
[4:00] 10. Jig Saw

Born in Wichita, guitarist Greg Skaff is a neo-modernist whose no-nonsense style is spiced with healthy dollops of blues and bop. Alto saxophonist Bobby Watson, another Kansan and Skaff's current employer, offers this assessment: "Greg is the most versatile and imaginative guitarist I've played with. He has one foot in the past and one foot in the future, so anything the music calls for...he's there!" Now that's an endorsement!

Among the gems are a seriously swinging "Walk the Walk," whose loamy contours Wes Montgomery would have felt at home with. For contrast, Skaff's poignant evocation of the William Warfield/Leontyne Price version of "My Man's Gone Now" transforms melancholy into tremulous, palpable hope. Throughout, group interactions are tight yet loose, and always swinging.

Although reflecting his work with such earthy essayists as Stanley Turrentine, Gloria Lynn and Ruth Brown, Skaff also digs into the contemporary lexicon forged by John Abercrombie and John Scofield. Here, abetted by fellow New Yorkers Bruce Barth (piano), Tony Scherr (bass) and Greg Hutchinson (drums), Skaff brightens the boulevard with strolls at once up-town and down. It's an exuberant and expansive debut. ~Chuck Berg

Blues And Other News

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Bruno De Filippi - In New York With Don Friedman Trio

Bitrate: MP3@320K/s
Time: 61:32
Size: 140.9 MB
Styles: Harmonica jazz
Year: 1992
Art: Front

[6:08] 1. Blue Skies
[6:17] 2. New Dawn
[6:31] 3. As Long As Therès Music
[5:01] 4. Rap Your Troubles In Drums
[5:46] 5. Soft Drink
[8:46] 6. Ma L'amore No
[6:24] 7. Stardust
[5:13] 8. It's You Or No One
[6:08] 9. Serenade In Blue
[5:14] 10. Nice Sky

Bruno De Filippi started playing guitar in the recordings of the most famous italian singers: Mina, Caterina Valente, Johnny Dorelli and Ornella Vanoni. During his forty-year career he also worked with the most important jazz musicians on the international scene (Louis Armstrong, Bud Shank, Lionel Hampton, Bill Russo, Gerry Mulligan, Astor Piazzolla, Barney Kessel, Lee Koonitz) and italians (Franco Cerri, Enrico Intra, Tullio De Piscopo, Guido Manusardi, Renato Sellani). During the seventies he started playing chromatic harmonica with Mina, Pino Daniele, Toquino, Rossana Casale, Caterina Valente, Gino Paoli. From 1986 onwards he recorded in his own name the albums Harmonica, Sweet Jazz From Italy, Portrait in black and white and Different moods, that has the special feature of containing the jazz suite "Metamorfosi", composed by Bruno for harmonica and string quartet. The CD Bruno De Filippi in New York with Don Friedman Trio (1992) shows the talent that Bruno developed with the chromatic harmonica. The partnership with the american pianist Don Friedman leads in 1994 to the album You and the night and the music and numerous concerts through Europe and the United States. Bruno De Filippi played in New York at the "Town Hall", "Birdland" and the prestigeous "Blue Note", considered the most important jazz club in the world, and also at "the Green Mill" in Chicago, "Pier House" in Key West (Florida) and a number of jazz circuits in Germany and Indonesia. Among the jazz festivals, his attendings at the "Jazz at the Tropics" in Miami, "Django Reinhardt Festival" in Fontainbleau (France) and "Jakarta Jazz 95" (Indonesia) are worthy of note. His cd YOU MY LOVE, dedicated to his wife Mimi, was recorded also in New York, on December 9 1997 with Don Friedman, Billy Hart and Jeff Fuller, on the "Giants of Jazz" label. "I Love Paris", a collection of famous French songs rearranged with jazz charm, was recorded in Paris with Pierre Michelot on bass, George Arvanitas on piano and Philippe Combelle on drums. "Senti che lune" sees De Filippi in company with the accordeonist Gianni Coscia; the theme of the record is the moon and therefore the cd includes songs such as "Moonlight Serenade" and "Guarda che Luna". His last efford, "Alone togheter", is a two-voice work with his long-time friend Don Friedman. Bruno De Filippi died January 17, 2010.

In New York With Don Friedman Trio

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Viktoria Tolstoy - Pictures Of Me

Bitrate: MP3@320K/s
Time: 48:48
Size: 111.7 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[3:33] 1. Women Of Santiago
[3:40] 2. Have A Good Time
[4:12] 3. South
[3:47] 4. Te Amo Corazón
[3:20] 5. Two Sails
[3:26] 6. Kiss That Frog
[4:15] 7. Absentee
[3:34] 8. Strollin'
[4:28] 9. Don't Make Me Wait
[4:19] 10. Can't Help It
[3:28] 11. Green Little Butterfly
[3:09] 12. The Way Young Lovers Do
[3:32] 13. Old And Wise

Viktoria Tolstoy: vocals; Jacob Karlzon: piano, keyboards; Hans Andersson: acoustic bass; Peter Danemo: drums, percussion; Xavier Desandre Navarre: percussion; Tore Brunborg: saxophone, flute; Lars Danielsson: cello.

Since Norah Jones' gargantuan hit CD some years ago, the field of pop/jazz, folk/jazz, and R&B/jazz singers is getting crowded. Some may bemoan this jazz adulteration, but if it brings new listeners to the music it's all good. Charlie Parker was, after all, lambasted for ruining jazz with bebop. From Sweden comes 32 year-old Viktoria Tolstoy, whose career has been in full swing since 1994, but is only recently getting some much deserved attention outside her own country. Her surname should a ring a bell as she is the great, great, great granddaughter of renowned writer Leo.

Her breakout CD, White Russian (Blue Note, 1997), produced by Swedish piano phenom Esbjorn Svensson, garnered plenty of acclaim. Her follow-up, Blame It On My Youth (Blue Note, 2001), scored points with the jazz cognoscenti by including the warhorses "Midnight Sun, "Laura and "Baby Plays Around, along with the title track. Tolstoy switched to the German independent ACT label for a number of releases. Tolstoy admits, for Pictures Of Me, that her primary influences are less from the jazz pantheon and more from 1960s R&B singers, Chaka Khan in particular. She definitely wears her pop sensibilities on her sleeve. She demonstrates her lilting, airy, almost transparent voice on the opener, "Women Of Santiago, then proceeds with a dreamy and fun interpretation of Paul Simon's "Have A Good Time. Her exhilarating choruses on "South, written by her impressive pianist Jacob Karlzon, soar above her band mates. Prince's "Te Amo Corazon has a sly bossa feel, while Peter Gabriel's "Kiss That Frog kicks it with a funky, gospel-inflected piano groove, ending with church recalling tambourine bust-out. "Absentee, another Karlzon gem, is a floating, angelic, yearning ballad. In Tolstoy's hands "Strollin', again from Prince, becomes a sweet, seductive, and playful pop love ballad, with some impressive support from Karlzon. Seal's "Don't Make Me Wait becomes a blues and gospel-tinged craving for resolved love. Pictures Of Me winds down with a percussive, sweet and placid pop ballad, Can't Help It, "Green Little Butterfly, a pulsating, churning version of Van Morrison's "The Way Young Lovers Do and a gentle, piano-caressed "Old And Wise, with more beautiful playing/arranging from Karlzon. For those who can handle a pop/jazz approach, Pictures Of Me and Tolstoy's lovely, almost ethereal voice will be a rewarding experience. ~jEFF mONROE

Pictures Of Me

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Jazz On The Latin Side All Stars - The Last Bullfighter

Bitrate: MP3@320K/s
Time: 69:16
Size: 158.6 MB
Styles: Latin jazz
Year: 2005
Art: Front

[5:33] 1. Bebop
[6:42] 2. Caramba
[6:11] 3. The Last Bullfighter
[5:25] 4. Sun God
[6:38] 5. Cozumel
[7:37] 6. Justo's Train Ride
[5:08] 7. Mr. Drop
[4:11] 8. Ironman James
[6:54] 9. Chupacabras
[7:13] 10. Saoco
[1:18] 11. Rumba Intro
[6:21] 12. Yo Soy La Rumba

Alto Saxophone – Robert Incelli; Baritone Saxophone – Scott Martin; Bass – Rene Camacho; Congas – Poncho Sanchez; Congas, Bata – Francisco Aguabella; Congas, Bata, Percussion – Joey De Leon; Drums – Alex Acuna; Flute – Danilo Lozano; Lead Vocals – Freddie Crespo; Piano – Chris Barron; Tenor Saxophone, Clarinet, Flute – Justo Almario; Timbales – Jimmy Branly; Trombone – Andy Martin, Eric Jorgensen, Francisco Torres; Trumpet – Bijon Watson, Gilbert Castellanos, Luis Eric Gonzalez, Ramon Flores, Sal Cracchiolo; Vocals, Bongos, Percussion – Alfredo Ortiz.

After two records, both of which were produced by the same live concert, Jazz on the Latin Side All Stars set out with a new label, a new musical director, and a new idea for their third album. Some may even consider this a sophomore release because of the nature of the first and second. Packed with individual character and a new aesthetic, The Last Bullfighter marks a new direction from this genuinely all-star group. Having been recorded in the studio instead of in a club, with a live and enthusiastic audience, makes a big difference. The fidelity is far superior to the previous two discs, and because of the controlled context, the arrangements are much more complex and interesting. The masterful and intricate horn arranging was done by trombonist Francisco Torres, who went from just an arranging credit on the first two records to arranger/musical director/producer on Bullfighter. Unfortunately, much of the vivacious, joyful quality captured in the club -- thanks to both the live crowd and the loose, descarga-style feeling of the music -- is lost. There is a feeling that the All Stars went from a neighborhood jam session to Carnegie Hall. It's good to play Carnegie Hall, but it's not the same. The musicianship throughout the record is truly fantastic, and the careful, measured approach toward arranging may prove more palatable to some than the previous record's loose, free, and sometimes frazzled energy. Hopefully, Latin jazz audiences can look forward to more from Jazz on the Latin Side All Stars, as they are one of the finer groups of their kind, studio precision and club frenzy alike. ~Evan C. Gutierrez

The Last Bullfighter

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Clifford Jordan - The Mellow Side Of Clifford Jordan

Bitrate: MP3@320K/s
Time: 50:28
Size: 115.5 MB
Styles: Bop, Saxophone jazz
Year: 2009
Art: Front

[ 5:15] 1. Embraceable You
[ 2:57] 2. Cj's Riff
[ 9:01] 3. Trees
[ 4:07] 4. Jug's Groove
[16:29] 5. Soul Eyes
[ 5:42] 6. Five 'n' Free
[ 6:54] 7. Daydream

Clifford Jordan, soprano & tenor sax; Carter Jefferson, tenor sax; Julian Priester, trombone; Kenny Reed, trumpet; Larry Willis, piano; Chris Anderson, piano; Mike LeDonne, B-3 organ; Rudy Turner, electric guitar; Fred Cook, bari sax; Edson Machado, drums; Nasser Abadey, percussion.

The music on The Mellow Side of Clifford Jordan is rarer and more valuable than one would think from the outside packaging of the CD. Nowhere does it mention that the seven selections were previously unreleased and, despite its title, not all of the music is taken at a slow ballad tempo. These spontaneous performances, recorded by Mapleshade during Clifford Jordan's visits over a four year period, feature him in unusual settings. "Embraceable You" teams the distinctive tenor with organist Mike LeDonne and Brazilian drummer Edison Machado. "C.J.'s Riff" features a unique trio comprised of Jordan, fellow tenor Carter Jefferson and drummer Nasar Abadey who, having not brought his instrument along, plays a percussion set comprised of pots and pans. The same trio plus trombonist Julian Priester and baritonist Fred Cook (with Jordan switching to soprano) somehow sounds like a full group on "Five 'N' Free" despite the lack of piano and bass. Jordan teams up with trumpeter Kenny Reed (whom he had never played with before) and pianist Larry Willis for an emotional "Trees" and "Soul Eyes." In addition, Jordan plays duets with guitarist Ruby Turner ("Jug's Groove") and takes soprano with pianist Chris Anderson ("Daydream"). Although not completely flawless, the music is quite rewarding overall and displays the flexibility and creativity of the late great Clifford Jordan. ~Scott Yanow

The Mellow Side Of Clifford Jordan

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Roland Kirk - We Free Kings

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:45
Size: 87,2 MB
Art: Front

(3:08)  1. Three For The Festival
(4:21)  2. Moon Song
(4:37)  3. A Sack Full Of Soul
(3:37)  4. The Haunted Melody
(4:07)  5. Blues For Alice
(4:46)  6. We Free Kings
(2:28)  7. You Did It, You Did It
(6:08)  8. Some Kind Of Love
(4:30)  9. My Delight

We Free Kings, Roland Kirk's third long-player, is among the most consistent of his early efforts. The assembled quartet provides an ample balance of bop and soul compliments to Kirk's decidedly individual polyphonic performance style. His inimitable writing and arranging techniques develop into some great originals, as well as personalize the chosen cover tunes. With a nod to the contemporary performance style of John Coltrane, as well as a measure of his influences most notably Clifford Brown and Sidney Bechet -- Kirk maneuvers into and out of some inspiring situations. His decidedly 'Trane-esque solos on "My Delight" are supported with a high degree of flexibility by one-time Charles Mingus' pianist Richard Wyands and Dizzy Gillespie percussionist Charlie Persip. The album's title track is a Kirk original, based on the melody of the Christmas hymn "We Three Kings." Incorporating recognizable melodies into Kirk's oft times unorthodox musical settings would prove to be a motif throughout his career. An example is the highly touted cover of Charlie Parker's "Blues for Alice." This is an ideal avenue for the quartet to explore one of Kirk's specialties the blues. The almost irreverent manner in which he fuses blues and soul music into the otherwise bop-driven arrangements is striking. "A Sack Full of Soul" is a funky number with a walking-blues backbeat that perfectly supports Kirk's swinging solos. The stop time syncopation is reminiscent of Ray Charles' "What'd I Say." The 1987 CD version also includes an alternate take of "Blues for Alice." One additional track a cover of the Frank Loesser standard "Spring Will Be a Little Late This Year" was also recorded at these sessions and remained unissued until its inclusion on the ten-disc Rahsaan: The Complete Mercury Recordings of Roland Kirk box set. ~ Lindsay Planer http://www.allmusic.com/album/we-free-kings-mw0000649599

Personnel:  Roland Kirk: tenor saxophone, manzello, flute, stritch saxophone;  Richard Wyands: piano (tracks 3-5 & 9);  Art Davis: double bass (tracks 3-5 & 9);  Charlie Persip: drums;  Hank Jones: piano (tracks 1-2 & 6-8);  Wendell Marshall: bass (tracks 1-2 & 6-8)

We Free Kings

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Andrew Rathbun - The Idea Of North

Styles: Saxophone Jazz
Year: 2010
File: MP3@256K/s
Time: 57:56
Size: 106,6 MB
Art: Front

(8:37)  1. Echoes
(8:32)  2. Harsh
(8:23)  3. Across The Country
(5:14)  4. December
(4:25)  5. Teru
(9:48)  6. Rockies
(5:00)  7. Minuet And Dance Of The Blessed Spirits
(7:52)  8. Arctic

What effect does solitude have on a person? How can one grow as a result of being alone? These questions provoke a musical response from saxophonist, Andrew Rathbun, though the roots of his inspiration for this music lie over forty years ago. In 1967, legendary concert pianist Glenn Gould produced a radio documentary called "The Idea of North" where simultaneously played voices narrated five people's views on Northern Canada. Gould called this experiment "contrapuntal radio," an extension of his own musical voice and an exploration of the theme of solitude, a state which he needed creatively and craved personally. In his own way, New York-based Rathbun's six compositions explore the vast expanses of his native Canada, translating the extremes of geography, climate, and the idea of solitude into musical narratives of contrasting mood. Gould, by his own admission, was a failed composer, a charge however, which could not be leveled at Rathbun. The six pieces are as structurally challenging as they are melodically pleasing, and the tender rendition of saxophonist Wayne Shorter's beautiful ballad "Teru" can be seen in the wider context of Rathbun's approach to music as a meeting of like minds. Like Shorter whether on tenor or soprano Rathbun embarks on absorbing excursions of cerebral design and emotive import. Trumpeter Taylor Haskins, guitarist Nate Radley and pianist Frank Carlberg are no less impressive, but much of the music's appeal lies in the imaginative harmonic and contrapuntal lines that weave in and out of the ongoing narrative.

The leader's canny orchestration stands out on the expansive "Across the Country," which opens with a delightful bass line from the ever-inventive Jay Anderson, who forms an intuitive rhythm section with drummer Michael Sarin and Carlberg. Significant support also comes from Radley, who excels equally in the role of deft accompanist. Rathbun and Radley unravel solos of great fluidity and momentum either side of the richly harmonic collective voice which carries the tune's melody. Delightful too, is the pairing of soprano and muted trumpet against razor-sharp guitar lines on the vaguely melancholic "December." There are striking dynamics at play within the avant-garde "Harsh"; a slightly jarring ambience where nervy brass, chattering bass and choppy piano are punctuated by a sinister motif. The music becomes gradually more urgent, spurred by Carlberg, as the sextet flirts with swing of a restless nature. "Rockies" sounds like an expansion on these ideas, dark and brooding, though with an inescapable walking rhythm over which the front line instruments carve out taut solos, laden with tension. In contrast, lilting soprano, lyrical bass and gently cascading piano illuminate 18th century German composer Christoph Gluck's lovely "Minuet and Dance of the Blessed Spirit, while "Arctic" is a surprisingly warm-toned, straight-ahead piece with a strong melodic core to close the disc. Rathbun's music is intellectually challenging and yet immediately accessible. Rathbun enjoys outstanding support from his musicians, but if solitude even as an abstract idea serves up music this satisfying, then maybe he should spend more time alone in his special place. ~ Ian Patterson https://www.allaboutjazz.com/the-idea-of-north-andrew-rathbun-steeplechase-records-review-by-ian-patterson.php

Personnel: Andrew Rathbun: saxophones; Taylor Haskins: trumpet; Nate Radley: guitar; Frank Carlberg: piano, electric piano; Jay Anderson: bass; Michael Sarin: drums.

The Idea Of North

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Jeff Parker - The Relatives

Styles: Guitar Jazz 
Year: 2005
File: MP3@320K/s
Time: 40:51
Size: 93,6 MB
Art: Front

(3:25)  1. Istanbul
(6:06)  2. Mannerisms
(3:31)  3. Sea Change
(6:26)  4. When Did You Stop Loving Me, When Did I Stop Loving You
(3:26)  5. Beanstalk
(5:55)  6. The Relative
(5:00)  7. Toy Boat
(6:58)  8. Rang

Jeff Parker's second session as a leader, The Relatives, surprises by taking easygoing mainstream flavors and, stirring with spice, manages to honor the forms while tweaking them. Parker's regular rhythm section, Chris Lopes on bass and NY-Chicago drum machine Chad Taylor on percussion, keep the momentum crisp. Parker's earnest and deliberate delivery plays off space, often adding the right pinch of Grant Green. Frothy wah-wahed chords yawn through Taylor's brushed cymbals on "Istanbul. Parker winds a wiry line around the atmospheric accompaniment. Sam Barsheshet revisits his days in a Herbie Hancock cover band on Parker's "Mannerisms. His splashy electric piano invites clear measured musing from Parker. His candy-toned keyboard solo keeps the sweet soul jazz riff pumping. Lopes' "Sea Change takes the bassist to challenging unisons with Parker and a dexterous workout on his own. Marvin Gaye's "When Did You Stop Loving Me gets a solidly swinging interpretation with Barsheshet brisk on the cool keys, and Parker's double-tracked guitar skates through the changes. Lopes' "Beanstalk features the composer on flute for a Ben Allison feel. Parker dances through the sunny tune, the rhythm section percolating along. Mostly percussion and flanged guitar, "The Relative references physics more than family. When the Latin-tinged groove coalesces, Parker overdubs his thematic variances. Toy Boat keeps the band in tight step for Parker's economical and unpredictable additions. "Rang sets a two-note pattern that allows Taylor to stretch out impressively. Lopes explores the poles, and Barsheshet detours into radiant shimmer.  With accessible, catchy melodies and enthusiastic performances, Parker and company make it a pleasure to have The Relatives stay for awhile.~Rex Butters https://www.allaboutjazz.com/the-relatives-jeff-parker-thrill-jockey-review-by-rex-butters.php

Personnel:  Jeff Parker, guitar;  Chris Lopes, bass;  Chad Taylor, drums;  Sam Barsheshet, electric piano.

The Relatives

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Sarah Jane Morris & Antonio Forcione - Compared To What

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 50:26
Size: 117,5 MB
Art: Front

(4:40)  1. Awestruck
(4:24)  2. Comfort Zone
(4:46)  3. Message In A Bottle
(4:53)  4. The Sea
(3:48)  5. All I Want Is You
(4:44)  6. I Bare My Soul
(2:51)  7. Northern Light
(3:55)  8. Superstition
(3:06)  9. I'll See You There
(2:56) 10. Moving Forward My Friend
(4:12) 11. Compared To What
(6:05) 12. Blowing In The Wind

Sarah Jane Morris and Antonio Forcione come together in a worldwide tour to promote the launch of their collaborative album: Compared to What. This duo have each been compared to an impressive array of musical geniuses including Janice Joplin and Tom Waits (vocally) as well as Jimi Hendrix (instrumentally)  a comparison Antonio wears with pride. Django Reinhardt also comes to mind. In truth, Sarah Jane and Antonio are great artists in their own right. Channelling their energies together, they share audiences in Italy, Britain, and all over the world. Together they increase their spheres of appreciation, giving loyal fans the chance to experience favourites afresh, as well as attracting new audiences with the strength and artistry of their unique partnership. Compared to what is the result of a fruitful and varied songwriting collaboration. It covers a number of traumatic social issues and many songs of emotional intensity which reflect the urgent concern both artists feel for the tragedy of refugees. One song in particular deals with the boat people a drama most keenly felt in Italy and by Italians with Sarah Jane and Antonio acting as tribunes of conscience. This sense of witness describes many of Sarah Jane's most passionately felt songs from the recent past, and in new material Antonio adds his own awareness and artistic response. Alongside the songs of conscience, Compared to What includes some wry comedy, also love songs and some memorable covers, notably Stevie Wonder and Bob Dylan. Sarah Jane's and Antonio's set touches heights of great musical beauty both in Antonio's unique virtuoso guitar playing and Sarah Jane's legendary voice, now more subtle and persuasive than ever, with range and power undiminished. The whole is a triumph of collaboration between two of the most individual and richly talented musicians on the world stage. https://www.amazon.co.uk/Compared-Sarah-Morris-Antonio-Forcione/dp/B01LVUV1ZN

Personnel:  Antonio Forcione Guitar;  Sarah Jane Morris Voice

Compared To What

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