June Christy - June's Got Rhythm

Bitrate: MP3@320K/s
Time: 43:06
Size: 98.7 MB
Styles: Jazz vocals
Year: 1958/2006
Art: Front

[2:23] 1. Rock Me To Sleep
[3:16] 2. The Gypsy In My Soul
[2:41] 3. I'm Glad There Is You
[2:43] 4. They Can't Take That Away From Me
[1:55] 5. It Don't Mean A Thing (If It Ain't Got That Swing)
[2:46] 6. My One And Only Love
[2:56] 7. When Lights Are Low
[3:34] 8. I Can Make You Love Me (If You Let Me)
[4:17] 9. Easy Living
[3:15] 10. Blue Moon
[2:16] 11. All God's Chillun Got Rhythm
[2:30] 12. Baubles, Bangles And Beads
[2:22] 13. Aren't You Glad You're You
[2:39] 14. Looking For A Boy
[3:26] 15. Small Fry

Bass – Monty Budwig; Drums – Mel Lewis, Shelly Manne; Flute – George Spelvin; Guitar – Laurindo Almeida; Oboe – Bob Cooper; Piano – Russ Freeman; Trombone – Frank Rosolino; Trumpet – Ed Leddy; Tuba – Red Callender. Recorded in Hollywood, June, 1958.

Many of singer June Christy's popular Capitol albums feature her cool-toned vocals backed by an orchestra. This recording is an exception. Christy excels on a jazz-oriented set with a nonet that includes trumpeter Ed Leddy, trombonist Frank Rosolino and her husband Bob Cooper (who arranged the set) on tenor and oboe. Christy accurately called this music "intimate swing." Her versions of such songs as "I'm Glad There Is You," "My One and Only Love," "When Lights Are Low" and "Blue Moon" are tasteful, sincere and often quite memorable. ~Scott Yanow

June's Got Rhythm

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Bill Heller - Find The Way

Bitrate: MP3@320K/s
Time: 57:08
Size: 130.8 MB
Styles: Smooth jazz
Year: 2014
Art: Front

[5:17] 1. Guaraldi (Feat. Jeff Kashiwa)
[5:30] 2. Down & Loaded (Feat. Jeff Kashiwa)
[4:33] 3. Bill's Bop (Feat. Eric Marienthal)
[4:20] 4. Blackbird On A Fence (Feat. Jeff Kashiwa)
[5:06] 5. Find The Way (Feat. Jeff Kashiwa)
[4:49] 6. Hanna (Feat. Eric Marienthal)
[5:27] 7. Alone
[5:51] 8. Latinesque (Feat. Carl Fischer & Luis Bonilla)
[5:33] 9. 5 For 1 (Feat. Eric Marienthal)
[4:39] 10. Afrikaan
[4:53] 11. My Thing
[1:05] 12. Trottoir Du Musette

Perhaps best known as keyboard player with smooth jazz super-group (the) Rippingtons, Bill Heller has released his own solo collection, the excellent ‘Find The Way’. It fuses together jazz of varying complexions through the combined talents of guest performers (and Rippingtons band-mates) Jeff Kashiwa, Rico Belled and Dave Karasony plus fine work from Eric Marienthal Ronnie Gutierrez, Joel Rosenblatt and Dave Anderson. However, that said, this is very much Heller’s album. He writes all twelve tracks, produces throughout and, with his mastery on keys, leaves listeners wondering why it has taken him so long to move center stage.

Indeed it was back in 1998 that Heller made his first Rippingtons appearance. That was for the ‘Topaz’ CD and he has been performing live with the band since March of 2001. By that time Jeff Kashiwa was already a regular member of the line-up and with ‘Find The Way’ it is Kashiwa who helps get the show on the road with tremendous sax and flute for the opening ‘Guaraldi’. This mellifluous song has an aura of the Rippingtons about it and much the same can be said of the fabulous ‘Afrikaan’ that is right up there with the best that ‘Find The Way’ has to offer.

Find The Way

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Gerry Mulligan Quartet - Gerry Mulligan Quartet Featuring Chet Baker

Bitrate: MP3@320K/s
Time: 49:15
Size: 112.8 MB
Styles: West Coast jazz, Saxophone jazz
Year: 1992
Art: Front

[2:26] 1. Carioca
[2:31] 2. Line For Lyons
[4:05] 3. Moonlight In Vermont
[3:12] 4. Bark For Barksdale
[2:55] 5. Turnstile
[3:11] 6. The Lady Is A Tramp
[2:54] 7. My Funny Valentine
[2:46] 8. Limelight
[0:20] 9. Gerry Mulligan Signing Off
[3:02] 10. Flying The Coop
[3:23] 11. Why Not
[2:44] 12. So What
[3:27] 13. I May Be Wrong But I Think You're Wonderful
[3:27] 14. New York
[2:28] 15. Leavin' Town
[3:23] 16. Hot Dog
[2:52] 17. Sax Appeal

This CD is a compilation of two separate recording sessions, one led by Gerry Mulligan with Chet Baker on trumpet, the other by the Chubby Jackson Big Band. Half the Mulligan-Baker quartet material was recorded at the Black Hawk in San Francisco in September 1952, the other half four months later in LA. The personnel remains the same for both. The two horn men, along with Carson Smith (b) and Chico Hamilton (d) were laying down the foundation of what soon would be referred to as West Coast or Cool jazz, a sound just as swinging as its East coast rival, but tempered somewhat by a more introspective rhythm approach (the use of brushes over sticks by the drummer, for example) and in the case of this group, no piano. Many who disparage West Coast jazz make the claim that it was cold, pensive, and unswinging, which makes one wonder if such people ever really listened to the music. Such tunes as BARK FOR BARKSDALE, TURNSTILE, and LIMELIGHT are modern dynamos, far from retiring wallflowers. Baker, who supposedly couldn't read music, is truly inspired on these early sides.

The Jackson sides were recorded at one session for Prestige in 1950 in New York and feature an all-star modern big band, including Mulligan (bar sax) Howard McGhee (tp) Zoot Sims (ts) JJ Johnson (tb) and Jackson (b) among many other top players. Best might be the up-tempo rouser FLYING THE COOP, written by Tiny Kahn, a performance that sets the band off well, especially Sims and Johnson. I MAY BE WRONG is also a great tune done to perfection here, thanks to Mulligan's playing and arranging.

The music on this CD is fresh and exciting. The playing is top-notch. This is a must-have CD for anyone interested in modern jazz, especially during its earlier years. ~Bomojazz

Gerry Mulligan Quartet Featuring Chet Baker

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Erroll Garner Trio - Humoresque

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 71:11
Size: 166,4 MB
Art: Front

(5:11)  1. Humoresque
(5:28)  2. Moonglow
(4:19)  3. In A Mellow Tone
(5:03)  4. Don't Worry 'Bout Me
(3:12)  5. Exactly Like You
(4:42)  6. Creme De Menthe (Dreamy)
(2:35)  7. Oh, Lady Be Good
(4:00)  8. I've Got The World On A String
(2:37)  9. Rosalie
(3:10) 10. There's A Small Hotel
(3:14) 11. Mean To Me
(2:53) 12. Easy To Love
(3:20) 13. All Of A Sudden
(3:27) 14. You Are My Sunshine
(4:33) 15. Part Time Blues
(2:21) 16. I Wanna Be A Rug Cutter
(7:18) 17. 7-11 Jump
(3:39) 18. Alexander's Ragtime Band

One of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, on medium tempo pieces, Erroll Garner often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting, and the pure joy that he displayed while performing were also part of the Erroll Garner magic.

Garner, whose older brother Linton was also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-1945 before going out on his own. By 1946, Garner had his sound together, and when he backed Charlie Parker on his famous Cool Blues session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s on, Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise, and his own Octave label. ~ Scott Yanow http://www.allmusic.com/artist/erroll-garner-mn0000206967/biography

Humoresque

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Michael Cochrane - Minor Matrix

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 63:17
Size: 145,3 MB
Art: Front

(7:08)  1. I'll Keep Loving You
(5:16)  2. One Finger Snap
(6:05)  3. Waltz
(6:43)  4. On The Sunny Side of The Street
(4:57)  5. Mamacita
(5:57)  6. This Is New
(8:40)  7. Summer Night
(6:55)  8. Minor Matrix
(5:03)  9. Ask Me Now
(6:30) 10. So Sorry Please

Michael Cochrane starts his new CD with Bud Powell’s classic “I’ll Keep Loving you” manifesting again his musical roots and influences. As John Murph of JazzTimes once wrote about Cochrane’s SteepleChase debut album Cutting Edge, this album also “ sings unapologetically that bebop indeed still lives. ”

Personnel: Michael Cochrane (piano); Alan Nelson (drums); Calvin Hill (bass)

Minor Matrix

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David Garfield - Seasons Of Change

Styles: keyboards, Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 61:51
Size: 141,7 MB
Art: Front

(7:23)  1. El Judio Magnifico
(4:22)  2. Aquas De Marcos (Waters Of March)
(5:01)  3. Too Shy To Say
(5:35)  4. Summertime
(8:32)  5. Prophecy
(2:05)  6. Chino MacDonald
(6:46)  7. Harvest Time
(7:25)  8. Manha De Carnival (A Day In The Life Of A Fool)
(5:30)  9. One Finger Snap
(9:07) 10. Gracias (Thank You)

The Los Angeles based keyboard player David Garfield has a long career as a musical director, arranger, composer and producer behind him, and he is still one of the 'Cats' that you always see playing local clubs such as The Baked Potato, Cafe Cordiale, La Ve Lee. You'll also find him on world tours with big acts with likes of George Benson.  Over the span of his career, he's scored and recorded for films ('Annie' and 'Always' with J.D. Souther), Television ('Fame' and its five accompanying 'Kids from Fame' recordings), and commercials (Coca Cola, McDonald's, Seven Up). He has produced many albums and appeared on several as a keyboard player, arranger and composer. Along with his active recording career he toured with Earl Klugh, Michael McDonald, Nancy Wilson, Oleta Adams/Luther Vandross, Brenda Russell and many local L.A. acts and has been the musical director for George Benson and Dianne Reeves. He also appeared on The Tonight Show, Arsenio Hall and Solid Gold, and has composed and recorded more than 200 original compositions.  As if that array of challenges weren't enough to satisfy his creative urges, Garfield has led several popular bands rock/jazz/funk/world beat fusion bands in Los Angeles since his arrival in the mid-70s. The first of these was Karizma, which he formed with top session players Carlos Vega, Lenny Castro, Mike Landau and Jimmy Johnson. Karizma played sold out club dates in L.A. for years and released four albums ('Dream Come True', 'Cuba,' 'All The Way Live,' and 'Arms of Love') to great success in Japan, Australia and throughout Europe. At one point, Karizma, which still regroups every so often, also toured extensively, including dates with Sadao Watanabe, Jeff Lorber and the Yellowjackets.

Garfield and longtime friend/collaborator, guitarist Steve Lukather from Toto, formed Los Lobotomys in 1985, and this band has also met with great success in L.A. and abroad. In 1994, Garfield and Lukather produced the guitarist's second solo album 'The Candyman' on Sony International. The project featured Fee Waybill from the Tubes and Simon Phillips, drummer for Toto, and the band embarked on a sell out tour of Europe and Japan, sharing stages with Peter Gabriel, Aerosmith and others. As is typical of his musical resume, Garfield has worked on a number of unique projects over the past few years, both at home, in Europe and Japan. The Los Lobotomys tour led to a long-term scoring assignment on a German TV show, and he has produced various Japanese artists in addition to working with top Italian singing star Eros Ramazzotti. Garfield has also performed at Keyboard Magazine's 20th Anniversary Concert at the NAMM show alongside Bruce Hornsby and Joe Zawinul; played at the Modern Drummer magazine's anniversary concert with Steve Ferrone; scored the syndicated TV show 'Sentinel'; sat in with Isaac Hayes and The Blues Brothers at a House of Blues benefit concert; released two DCI instructional videos on how to play rock and roll keyboards; written music for the trailer for the Billy Crystal-Robin Williams comedy 'Father's Day' with James Newton-Howard, and background cues for Good Day L.A. In between these gigs, he was pouring over the logistics and finally the recording sessions for the Tribute to Jeff release. Garfield also formed a production company, Creatchy Productions. With access to the top studio musicians and state of the art technology, they have offered modern production values to both commercial and experimental projects. Creatchy Productions has released many projects by various artists, and has accessed the Japanese and European market. By continuing to craft world music with Contemporary Jazz and to delve into new international technologies, David Garfield has secured his niche as a visionary in contemporary music.

At first glance, all of these diverse projects may seem to have little in common with his earliest gigs touring and recording with Willie Bobo, Freddie Hubbard and Tom Scott. The Chicago born, New York and St. Louis bred Garfield can summarize his entire, admittedly all encompassing career in three simple words: 'I make music. That's my mission statement. Things developed slowly over time, till I was playing every different kind of music in unique situations. Always going against the grain, doing music that may not have been the 'in' thing at the time but hanging around until it became popular.'It all goes back to when I was seven years old, first learning the piano,' he adds. 'There seemed like a great spiritual connection there, and I felt compelled to keep playing. I started my life playing rock, Led Zeppelin, Grand Funk and started meeting more and more jazz musicians in St. Louis which made jazz a logical second love for me. It's been an incredible education.' David Garfield has led many musical projects and one of the cornerstones in his career is the 'Tribute To Jeff' project released in 1997. On May 8th 1992, music lost one of the greatest drummers ever, Jeff Porcaro. He was a big part of the west coast music and L.A. scene through the 70s and 80s. Jeff Porcaro was like a magnet, attracting attention from musicians and fans, and today he still is 'King Of The Groove' because of his very tight drum playing. Making 'Tribute To Jeff' album required a lot of hard work and for David Garfield it took 5 years to finally put the record together and release it. There are many well-known musicians on this album and most of them have played with Jeff Porcaro on albums, tours and gigs. David Garfield has always been very close to the Porcaro family, so he was the right person to make this great album. David also hosts the yearly Carlos Vega Memorial Birthday, a tribute to his friend Carlos Vega, who introduced him to the Los Angeles music business. Carlos Vega passed away in 1997 and David Garfield keeps the spirit alive with the annual concert every year in December at a local club in Los Angeles. In 2005, David Garfield and his production company Creatchy Records released the albums 'Tribute To Jeff Revisited' and 'Seasons Of Change', and later that year he went to Europe with Los Lobotomys for a week of gigs and clinics in Denmark. David is currently working on new releases from both Karizma and Los Lobotomys and will be going to Europe to perform with Russ Miller, Eric Marienthal and John Peña in the spring of 2007. https://www.last.fm/music/David+Garfield/+wiki

Personnel: David Garfield (piano, keyboards); Luis Conte (percussion).

Seasons Of Change

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Ernestine Anderson - When The Sun Goes Down

Bitrate: MP3@320K/s
Time: 42:41
Size: 97.7 MB
Styles: Jazz/Blues vocals
Year: 1985/1992
Art: Front

[4:49] 1. Goin' To Chicago Blues
[4:45] 2. Someone Else Is Steppin' In
[7:21] 3. In The Evening When The Sun Goes Down
[4:59] 4. I Love Being Here With You
[6:04] 5. Down Home Blues
[6:21] 6. I'm Just A Lucky So And So
[3:18] 7. Alone On My Own
[5:00] 8. Mercy, Mercy, Mercy

On one of her best Concord recordings, Ernestine Anderson (who is joined by tenor man Red Holloway, pianist Gene Harris, bassist Ray Brown, and drummer Gerryck King) is quite soulful and bluesy throughout this strong program. She makes such tunes as "Someone Else Is Steppin' In," "In the Evening (When the Sun Goes Down)," and "I Love Being Here with You" sound as if they were written for her, while "Mercy, Mercy, Mercy" is heard in a very rare vocal version. Actually, all eight songs (which also include "Goin' to Chicago Blues" and "Down Home Blues") are well worth hearing. Recommended. ~Scott Yanow

When The Sun Goes Down

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Various - Capitol Sings Duke Ellington

Bitrate: MP3@320K/s

Time: 71:57

Size: 164.7 MB

Styles: Easy Listening

Year: 1994

Art: Front

[ 5:04] 1. Duke Ellington - Duke's Place

[ 2:20] 2. Nancy Wilson - Satin Doll

[ 3:49] 3. Sarah Vaughan - Solitude

[ 3:20] 4. Nat King Cole - Mood Indigo

[ 2:53] 5. June Christy - Just A-Sittin' And A-Rockin'

[ 4:46] 6. Annie Ross - I'm Just A Lucky So And So

[ 2:44] 7. Lou Rawls - Just Squeeze Me (But Don't Tease Me)

[ 3:06] 8. Dinah Washington - I Didn't Know About You

[ 3:49] 9. Dinah Shore - I Ain't Got Nothin' But The Blues

[ 3:08] 10. Nat King Cole - Don't Get Around Much Anymore

[ 2:54] 11. Hank Jones - In A Sentimental Mood

[ 3:04] 12. Harry James & His Orchestra - I'm Beginning To See The Light

[ 5:31] 13. Duke Ellington - I Got It Bad (And That Ain't Good)

[ 2:10] 14. Peggy Lee - Jump For Joy

[ 2:15] 15. Dinah Washington - Do Nothing 'til You Hear From Me

[ 2:43] 16. June Christy - I Let A Song Go Out Of My Heart

[ 2:42] 17. Nat King Cole - Caravan

[ 2:29] 18. Nancy Wilson - Sophisticated Lady

[ 2:42] 19. The King Sisters - Take The A Train

[10:17] 20. Duke Ellington - It Don't Mean A Thing (If It Ain't Got That Swing)

If you like Duke Ellington's music, you will love this collection. The disc includes some very well known versions of Ellington's big hits. As expected from the title, all the versions are from the Capitol Records' vault. I miss Ella Fitzgerald. A few cuts from her would have made this album perfect. But that's a minor point as the overall collection of artists represented here is outstanding. The artists range from Duke's own orchestra to Sarah Vaughan, Nancy Wilson, Dinah Washington, Peggy Lee, Lou Rawls and the King Sisters. The title track, "Mood Indigo" is performed by Nat King Cole - simply the best.

The songs have been digitally remastered and the sound is as close to perfect as modern technology can make it. The music is as clean and bright on this album as it was when it was originally recorded. Great songs; great artists; excellent sound -- so, turn up the volume and swing the house! Highly recommended! ~Penumbra

Capitol Sings Duke Ellington

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Sammy Nestico - A Portrait Of Sammy

Bitrate: MP3@320K/s
Time: 61:15
Size: 140.2 MB
Styles: Swing
Year: 2009
Art: Front

[4:51] 1. Dark Orchid
[6:17] 2. Freckle Face
[4:29] 3. Veronique
[5:05] 4. Swingin' On The Orient Express
[4:11] 5. Lisette
[3:57] 6. Time Stream
[3:18] 7. Katy
[5:31] 8. A Cool Breeze
[7:12] 9. A Warm Breeze
[5:49] 10. Out Of The Night (Dark Orchid)
[4:36] 11. Satin 'n Glass
[5:53] 12. 88 Basie Street

The Portrait of Sammy shown on the cover of renowned composer/arranger Sammy Nestico's newest album shows a man grinning from ear to ear, clearly enjoying what he does and relishing the fruits of his enduring success. And why not? Sammy has been at the top of his game for nearly half a century, and he shows no signs of slowing down at age 81. Ten of the fifteen selections on Portrait were recorded last year with an orchestra comprised of world-class jazz musicians from southern California bolstered by a 26-piece string section, creating an ambiance reminiscent of the Netherlands Metropole Orchestra.

Even with strings attached, Nestico seldom forgets to swing, nor did he do so in winning four Grammy Awards for the incomparable Count Basie Orchestra while serving as the Count's chief arranger some three decades ago. On the other hand, the strings do little to enhance the environment, and (my opinion, judge for yourself) Sammy's purpose would have been better served without them (and with a tad less reverb as well). For proof, listen to "Freckle Face, "Time Stream, or "Kiji Takes a Ride! (no strings), "A Warm Breeze (recorded in '04 with Germany's superb SWR Big Band), "Satin 'n' Glass (transcribed in 1985 with Rob McConnell's Boss Brass minus Rob), or the album's "bonus track, the groovy "88 Basie Street, gleaned from the '78 album Dark Orchid to showcase the late Pete Jolly on piano. The personnel on that track, by the way, is mind-blowing—Warren Luening, Conte Candoli, and Snooky Young in the trumpet section; Bob Cooper, Bud Shank, and Jack Nimitz among the reeds; Bill Watrous on trombone; and Jolly, Chuck Berghofer and Louie Bellson in the rhythm section.

There's a second version of "Dark Orchid (which opens the album), this one recorded in 2000 under its alternate name, "Out of the Night, and featuring solos by flutist Hubert Laws, guitarist Paul Jackson Jr., drummer Vinnie Colaiuta and pianist Randy Kerber. There are no strings (or vocalists), and I found this earlier version the more agreeable because of it. That session also produced the lovely "Lisette, on which soprano Dan Higgins glistens. "Freckle Face, which spotlights trumpeter Luening, is from the Basie book, as are "Warm Breeze, "Time Stream, "Satin 'n' Glass and "Basie Street. Dick Nash's elegant trombone is front and center on the tender "Katy, written for Basie's wife, who had recently passed away. Guido Basso's warm flugelhorn garnishes "Satin 'n' Glass while Tom Scott is showcased on EWI on "Dark Orchid and "Orient Express, tenor sax (with guitarist Dean Parks) on "A Cool Breeze. Tenor Pete Christlieb complements Luening on "Tangerine, pianist Tom Ranier on "Veronique, Luening and bassist Trey Henry on the bustling "Time Stream.

Given his many successes over so many years, Sammy Nestico has every reason to smile. And if his colorful Portrait isn't entirely blemish-free, he need make no apology. He has earned the right to paint it his way. Much of what is presented here is splendid. My aversion to strings, which Sammy evidently deems necessary, may not be shared by other listeners—and as they are conspicuous on only five tracks, that's hardly enough to dampen one's pleasure. In sum, a handsome Portrait that any jazz lover should be pleased to hang in his or her music library. ~Jack Bowers

A Portrait Of Sammy

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Joe Traina - Tea For Two

Bitrate: MP3@320K/s
Time: 49:16
Size: 112.8 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[2:43] 1. Blue Skies
[4:54] 2. Imagination
[2:14] 3. Tea For Two
[3:30] 4. Besame Mucho
[6:18] 5. Stardust
[3:53] 6. It's Alright With Me
[4:30] 7. I Get A Kick Out Of You
[4:27] 8. Cry Me A River
[3:45] 9. Too Marvelous For Words
[4:48] 10. This Could Be The Start Of Something Big
[4:42] 11. These Foolish Things
[3:28] 12. Jumpin' With Symphony Sid

For his third CD, Traina uses his quintet to great effect and Grammy-Award nominated arranger Pete McGuinness gives it its swingin' drive. The title track, "Blue Skies", "Too Marvelous For Words" and "These Foolish Things" are all classics and represent the best of small group jazz. ~Hepcat 5

Tea For Two

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Holly Cole - Romantically Helpless

Bitrate: MP3@320K/s
Time: 42:41
Size: 97.7 MB
Styles: Standards, Vocal jazz
Year: 2000
Art: Front

[4:40] 1. One Trick Pony
[3:29] 2. Romantically Helpless
[4:33] 3. I'll Be Here
[2:09] 4. Ghosts
[3:52] 5. Come Fly With Me
[2:51] 6. Dedicated To The One I Love
[3:25] 7. That Old Black Magic
[4:02] 8. If I Start To Cry
[2:58] 9. Loving You
[3:54] 10. Make It Go Away
[3:13] 11. Don't Fence Me In
[3:29] 12. Same Girl

Holly Cole: vocals; Aaron Davis: piano, organ, Fender Rhodes, synthesizer; David Piltch: acoustic bass; Mark Ferguson: piano, trombone; Mark Kelso: drums, 2nd line groover, background vocals; Luc Boivin: percussion, 2nd line groover; Steve Ferrera: 2nd line groover; George Koller: acoustic bass, electric bass; David Gray: acoustic and electric guitars; Kevin Breit: acoustic and electric guitars, dobro; Gerry Leonard: electric guitar; Kim Ratcliffe: guitars; Tory Cassis: background vocals.

The irony of this CD title is hard to miss. Holly Cole’s confident, smoky alto might convey dark humor or cautious optimism, painful regret or self-aware neurosis, but definitely not helplessness. Ms. Cole combines the modern, post-feminist attitude of the Lilith Fair crowd with the sophistication of a pre-rock interpretative singer. Holly Cole has always been difficult to categorize. Jazz purists have never been taken with Ms. Cole’s eagerness to embrace contemporary music forms or her tendency to subvert material from the standard repertoire. Unlike Cassandra Wilson, who transposes rock and pop material into her own unique form of acoustic jazz, Ms. Cole frequently crosses the line that separates jazz and pop. In that respect, Ms. Cole’s artistic sensibility is surprisingly close to that of Peggy Lee’s. Although their styles and voices are very different, Ms. Cole shares Ms. Lee’s affinity for creating deeply personal interpretations out of a wide range of pop material. And like Ms. Lee, Ms. Cole uses jazz as simply one of many interpretive devices rather than as the raison d’ệtre for every performance.

Romantically Helpless, the Canadian singer’s sixth full-length studio album, brings together the different facets of Ms. Cole’s music. Two thirds of the recording mark a return to her early, more jazz-oriented roots. Ms. Cole’s highly idiosyncratic interpretations, often set to a stark, minimalist accompaniment, tend to bring out the dark undercurrents of a lyric. She gives envy an edge in a slinky version of Paul Simon’s “One Trick Pony” and transforms “Dedicated to the One I Love” into a stalker’s love song. Ms. Cole extracts bitterness and hurt from Randy Newman’s “Ghosts” and “The Same Girl” rather than the detached sarcasm usually associated with that composer’s songs. In contrast, her respectful, straightforward reading of Stephen Sondheim’s “Loving You” seems oddly stilted and unexpressive. The three decidedly more upbeat standards offer a welcome respite from the album’s melancholy tone. The brassy swing arrangement of “That Old Black Magic” does not suit Ms. Cole. She is simply not that kind of jazz singer. She is far more appealing on “Come Fly With Me” where she relaxes the tempo giving this usually hard driving song a feeling of affectionate romanticism. Ms. Cole also has a grand time on a version of “Don’t Fence Me In” that isn’t really any more tongue-in-cheek than Bing Crosby’s original recording of the song. The remainder of the album features radio-friendly pop arrangements of songs by both of Ms. Cole’s long time collaborators, Aaron Davis and David Piltch. As far as pop music goes, most of these tracks are fine with “Make It Go Away” the standout. ~Mathew Bahl

Romantically Helpless

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The Ruby Braff Trio - Bravura Eloquence

Styles: Cornet Jazz
Year: 1988
File: MP3@320K/s
Time: 58:39
Size: 137,8 MB
Art: Front

(4:30)  1. Ol' Man River
(3:07)  2. Smile / Who'll Buy My Violets
(3:22)  3. Lonely Moments
(3:41)  4. Here's Carl
(3:50)  5. God Bless The Child
(3:44)  6. It's Bad For Me
(4:51)  7. I've Grown Accustomed To Her Face
(3:07)  8. Make Sense
(3:22)  9. I'm Shooting High
(4:37) 10. Orange
(3:08) 11. Persian Rug
(3:58) 12. Trav'lin' Light
(4:10) 13. Royal Garden Blues
(9:07) 14. Judy  Medley: San Francisco / Over The Rainbow / If I Only Had A Brain

From the same sessions that resulted in Me, Myself and I, the great cornetist Ruby Braff, who has always had a distinctive sound of his own, once again teams up with guitarist Howard Alden and bassist Jack Lesberg in a trio. Alden's versatility serves him well on a program that includes "Ol' Man River," and medleys of tunes associated with Charlie Chaplin and Judy Garland, "I've Grown Accustomed to Her Face," and "Royal Garden Blues." Braff is heard at the top of his game throughout this enjoyable outing. ~ Scott Yanow http://www.allmusic.com/album/bravura-eloquence-mw0000308503

Personnel:  Ruby Braff – cornet;  Howard Alden – guitar;  Jack Lesberg – bass

Bravura Eloquence

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Rachel Lauren - Away From The Crowd

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 46:32
Size: 106,8 MB
Art: Front

(4:18)  1. You Stepped Out of a Dream
(4:36)  2. My Funny Valentine
(4:12)  3. Whisper Not
(4:17)  4. In My Solitude
(6:20)  5. Meditation
(4:39)  6. The Shadow of Your Smile
(3:56)  7. Cry Me A River
(5:01)  8. 'Round Midnight
(5:11)  9. Caravan
(3:57) 10. I Wish You Love

Singing classic jazz standards fueled by raw emotion and an innovative style, Rachel Lauren is an artist who will not only delight your ear, but also revive your spirit. Rachel’s ability to appeal to fans in her own age range in addition to long time jazz listeners sets her apart from other young artists. With the self-release of her first album Away From the Crowd in 2007, and second album If Ever in 2013, Rachel has succeeded in stepping away from the anonymity of the larger music scene and into a spotlight of her very own. The recipient of the prestigious Lamont Dozier Scholar award at USC, Rachel has toured the world performing. She has been seen on the David Letterman show and featured at Grammys, major USC events and David Fosters Starry Night. Rachel has also shared the stage with greats such as Randy Newman, Mike Garson, Tierney Sutton, Peter Erskine , Big Bad Voo Doo Daddy, Chris Botti and Dave Koz. Most recently, Rachel Lauren teamed up with composer Brian Carmody for the title track of the hit documentary SOMM. "There's No Black or White" made the short list for a Best Song Oscar nomination.  As a vocal stylist, Rachel pays homage to the music that created jazz, flavoring it with original emotional expression. “Its not about how many notes or beats you have,” says Rachel, “If you can make people feel something, feeling what you are feeling, that’s what jazz is about.” Rachel infuses this mantra into jazz standards, reviving vintage tunes with an emotional interpretation of her own. In her album, Rachel not only respects the great heritage of jazz music, but participates in it as well. http://www.rachellauren.com/Rachel_Lauren/

Away From The Crowd

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Sonny Rollins - Saxophone Colossus

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 39:46
Size: 91,4 MB
Art: Front

( 6:49)  1. St Thomas
( 6:33)  2. You Don't Know What Love Is
( 5:14)  3. Strode Rode
( 9:58)  4. Moritat
(11:10)  5. Blue Seven

Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed. ~ Scott Yanow http://www.allmusic.com/album/saxophone-colossus-mw0000188597

Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums).

Saxophone Colossus

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Bob Wilber & Dick Hyman - A Perfect Match

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 65:53
Size: 151,7 MB
Art: Front

(5:21)  1. In A Mellotone
(5:47)  2. Wings N' Things
(6:41)  3. Taffy
(5:47)  4. It's Only A Paper Moon
(4:45)  5. Mona Lisa
(4:41)  6. L.B. Blues
(4:17)  7. Eternally - Terry's Theme From Limelight
(4:32)  8. Limbo Jazz
(5:20)  9. Wisteria
(5:53) 10. He Loves And She Loves
(7:13) 11. It Don't Mean A Thing
(5:29) 12. Cote d'Azur

In the 1960s altoist Johnny Hodges and organist Wild Bill Davis recorded eight albums together, several of which included trombonist Lawrence Brown. This 1997 set sounds very similar to that band and would probably confuse listeners in a blindfold test. Bob Wilber, normally a soprano saxophonist and clarinetist, always did sound a bit like Hodges on alto, but the biggest surprise is Dick Hyman. On piano, Hyman has displayed the ability to do close impressions of nearly every jazz stylist. He sticks to organ throughout this date and sounds exactly like Davis both in tone and ideas. With trombonist Britt Woodman (who played alongside Lawrence Brown for a time in Duke Ellington's band), guitarist James Chirillo, bassist Phil Flanigan, and drummer Joe Ascione, Wilber and Hyman perform songs either written by Hodges or closely associated with the group. Some are numbers that have rarely been performed since the Hodges/Davis band, including "Wings N' Things," "Taffy," and the catchy "L.B. Blues." Even the more familiar tunes (such as "In a Mellotone," "It's Only a Paper Moon," and "It Don't Mean a Thing") are played in the style of the group. Two offbeat selections, Charlie Chaplin's "Eternally" and Wilber's tribute to Hodges ("Cote d'Azur"), also fit into the idiom. Although purposely derivative, the music is so well played (and fairly obscure) that both Hodges and Davis fans will want this unusual tribute. ~ Scott Yanow http://www.allmusic.com/album/a-perfect-match-a-tribute-to-hodges-wild-bill-davis-mw0000039687

Personnel: Bob Wilber (alto saxophone); James Chirillo (guitar); Britt Woodman (trombone); Dick Hyman (organ); Joe Ascione (drums).

A Perfect Match

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Ron Levy's Wild Kingdom - After Midnight Grooves

Bitrate: MP3@320K/s
Time: 55:17
Size: 126.5 MB
Styles: Jazz/blues
Year: 2004
Art: Front

[ 8:39] 1. After Midnight Groove
[ 7:42] 2. Groovin' Wichu
[ 7:59] 3. Just The Way It Went
[ 5:58] 4. Like Back In The Day
[ 6:12] 5. Slinky
[ 8:12] 6. Keepin' Up The Love
[10:32] 7. Back At The Levshack

Ron Levy – composer, producer, organ, piano, electric pianos, vibes, strings, basses, clavinet, Melvin Sparks - guitar, Karl Denson - sax/flute, "Sax" Gordon - bari-sax, Arkady Beletsky - strings, Jeff Lockhart - guitar, Russ Lawton - drums, Yahuba Garcia - percussion.

"After Midnight Grooves (Levtron 204) is the latest from Ron Levy's Wild Kingdom, on which the legendary organist and producer lays down a steamy set of soul-jazz tinged with Latin and funk. The supporting cast is outrageous: 3 percussionists keep things cooking, Karl Denson is a key player on sax and flute, and acid jazz legend Melvin Sparks lays down devastating, tasteful guitar solos on 'Groovin Wichu' the title track, and 'Just the Way it Went'. The most accessible cut might be 'Like Back in the Day', with its on the-edge-of-your-memory melody, but strings and programming make 'Keepin' Up the Love' (with great guitar from Jeff Lockhart) and 'Back at the Loveshack' equally hip. Levy's piano and vibes add essential texture, his B-3 technique puts him in the top rank of todays traditionalists, and his compositional and arrangements skills put him in the next decade." ~ Blues Revue

After Midnight Grooves

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Thad Jones & Aura Rully - Thad & Aura

Bitrate: MP3@320K/s
Time: 22:29
Size: 51.5 MB
Styles: Big band, Vocal jazz
Year: 1977/2014
Art: Front

[3:45] 1. Route 66
[4:44] 2. Feelings
[3:27] 3. Nice To Be Around
[3:38] 4. I Wish You Well
[2:08] 5. A Child Is Born
[4:46] 6. Everything Must Change

Bass – Georg Riedel; Cornet, Conductor – Thad Jones; Drums – Egil Johansen, Mel Lewis; Electric Bass – Stefan Brolund; Guitar – Rune Gustafsson; Piano – Bengt Hallberg; Reeds – Arne Domnérus, Bernt Rosengren, Claes Rosendahl, Erik Nilsson (2), Lennart Åberg; Trombone – Bengt Edwardsson, Lars Olofsson, Sven Larsson, Torgny Nilsson; Trumpet – Al Porcino, Americo Bellotto, Bertil Lövgren, Jan Allan. Recorded 28, 29 of Januray 1977 Swedish Radio Studio 7.

After 1972, when you say Duke Ellington, you have to say Duke Ellington Orchestra and Aura Rully. Aura was his singer, and in every Ellingtonconcert, "Mood Indigo" and a lot of well known songs where interpreted by Aura. Duke Ellington used to present Aura, as "Aura from Romania" and he launched her in 1972 in Newport Jazz Festival - Carnegie Hall, where she won applause for 18 minutes and accolades as it follows : Aura's dazzling voice lends pops excitement.

Thad & Aura

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Marc Hemmeler - Easy Does It

Bitrate: MP3@320K/s
Time: 37:29
Size: 85.8 MB
Styles: Piano jazz
Year: 1995/2006
Art: Front

[4:00] 1. Samba De Angry
[5:58] 2. La Vie En Rose
[5:23] 3. My One And Only Love
[3:10] 4. Con Alma
[4:22] 5. Stephane's Song
[4:46] 6. Marada Blues
[4:12] 7. Clodi Clodo
[5:33] 8. Easy Does It

Bass – Ray Brown; Drums – Daniel Humair; Piano – Marc Hemmeler; Violone – Stéphane Grappelli. Reorded march 17 & 18 1981 at Studio Davout, Paris.

Marc Hemmeler, a pianist in autodidact, moved to Paris in 1960, where he accompanied Johnny Halliday for four years. In 1964 he became a house pianist at the Blue Note Jazzclub, where he formed a trio with Jimmy Gourley and Kenny Clarke to accompany soloists such as Stan Getz, Harry Edison, Eddie Lockjaw Davis, and René Thomas. Later he worked in the Biboquet. From 1969 on, he was one of the companions of Stéphane Grappelli for more than a decade, with whom he went on tour and recorded several albums (Afternoon in Paris). In 1973, he played with Bill Coleman and Guy Lafitte at the Montreux Jazz Festival (Mainstream at Montreux).

Easy Does It

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Carol Duboc - All Of You

Bitrate: MP3@320K/s
Time: 45:05
Size: 103.2 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[3:17] 1. All Of You
[2:31] 2. Sunny
[4:14] 3. Ain't No Sunshine
[4:08] 4. Empty
[4:01] 5. Drowning
[4:17] 6. I Underestimated You
[2:54] 7. Every Breath You Take
[3:18] 8. Use Me
[2:35] 9. Spirits In The Material World
[4:16] 10. My Luck Is Gonna Change
[2:54] 11. Blackbird
[3:03] 12. The Dream's Not Over
[3:31] 13. Love You More Than Life Itself

Bass [Upright] – John Leftwich; Drums – Land Richards; Electric Piano [Rhodes], Piano – Tim Carmon; Flute – Hubert Laws; Guitar – Darrell Crooks.

Although sometimes associated with jazz or smooth, Carol Duboc is really a more pop-oriented singer in the vein of Norah Jones. Her voice is pleasing, she swings lightly and she pays close attention to lyrics, sounding hip without being adventurous. Joined by a supportive rhythm section, Duboc performs seven originals (six of which were co-written with her keyboardist Tim Carmon) and six pop/rock standards, reviving such songs as "Sunny," "Ain't No Sunshine" and "Blackbird" in fairly fresh and attractive ways. ~Scott Yanow

All Of You

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Jackie McLean - The New Tradition

Bitrate: MP3@320K/s
Time: 39:58
Size: 91.5 MB
Styles: Bop, Saxophone jazz
Year: 1955/2009
Art: Front

[6:45] 1. It's You Or No One
[6:55] 2. Blue Doll
[6:23] 3. Little Melonae
[6:25] 4. The Way You Look Tonight
[6:53] 5. Mood Malody
[6:35] 6. Lover Man

Jackie McLean hasn't had too many kind things to say about the recordings he made prior to signing with Blue Note in 1959. The alto saxophonist is quick to dismiss his pre-1959 work, which he feels pales in comparison to his stunning Blue Note output of 1959-1967. But while it is true that McLean recorded his most adventurous and essential albums for Blue Note, the saxman's pre-Blue Note recordings aren't without merit. Recorded in 1955, The New Tradition is a Spanish reissue that contains his first recordings as a leader. Joined by trumpeter Donald Byrd, pianist Mal Waldron, bassist Doug Watkins, and drummer Ronald Tucker, a 24-year-old McLean leads a conventional bop date that ranges from two originals ("Blue Doll" and "Little Melonae") to performances of the standards "It's You or No One," "The Way You Look Tonight," and "Lover Man." In 1955, there was plenty of Charlie Parker in McLean's tone -- nonetheless, he was striving for originality, and the saxman was growing increasingly distinctive. If McLean told you that this session fell short of the brilliance of 1960s Blue Note classics like Demon's Dance, One Step Beyond, Let Freedom Ring, and Right Now!, he would be speaking the truth. In 1955, McLean still had some growing and developing to do -- just as John Coltrane still had some growing and developing to do when he was in Dizzy Gillespie's employ in the early '50s. But that doesn't mean that this CD is bad. Although far from essential, The New Tradition is a decent bop outing that will appeal to collectors, historians, and hardcore fans. ~Alex Henderson

The New Tradition

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