Wednesday, June 21, 2017

Gary LeMel - How Fast Forever Goes

Bitrate: MP3@320K/s
Time: 37:33
Size: 86.0 MB
Styles: Contemporary jazz vocals
Year: 2002
Art: Front

[2:51] 1. (I'm Afraid) The Masquerade Is Over
[4:21] 2. Bluesette
[4:30] 3. Everything Must Change
[3:48] 4. Forget To Remember
[4:15] 5. How Fast Forever Goes
[3:05] 6. Satin Doll
[3:37] 7. Send In The Clowns
[3:47] 8. Softly As I Leave You
[4:07] 9. She Was Too Good To Me Since You Stayed Here
[3:08] 10. I'm All Smiles

Less well known as a performer than as a music industry executive, Gary LeMel began his showbiz career as vice president at Jerry Weintraub's Management III. A stint at First Artists Music followed, and it was there that LeMel was tapped by Warner Bros. to supervise the music for the Barbra Streisand films A Star Is Born and The Main Event; the soundtrack to the former was particularly successful, selling over six million copies in the U.S. alone. After serving as senior VP at Neil Bogart's Boardwalk Company, LeMel moved to Columbia Pictures in 1983; there he supervised a series of smash soundtracks including The Big Chill, Ghostbusters, Against All Odds and St. Elmo's Fire. Three years later he accepted an offer from Warner Bros., in the years to follow moving up the corporate ladder to become the president of the company's music division; again working extensively in film soundtracks, he launched hits including The Bodyguard, Singles and Space Jam. As a jazz vocalist, LeMel also recorded the occasional LP, including 1994's Romancing the Screen and 1999's Bobby Darin tribute Moonlighting. Lost In Your Arms appeared in summer 2001. ~bio by Jason Ankeny

How Fast Forever Goes

The Deep River Boys - London Harmony (2-Disc Set)

The Deep River Boys left a legacy of fine recordings during their 50 years of performing, setting a standard for professionalism and longevity that is to be envied. They began recording as a gospel act in the late '40s and later switched over and became an R&B act and were more popular in Europe for periods of time before coming home to the States for triumphant return engagements.

Their story begins in 1936, when all of the Boys — Harry Douglas (baritone), Vernon Gardner (first tenor), George Lawson (second tenor), Jimmy Lundy, and Edward Ware (bass) — were still students at Hampton Institute in Virginia in the mid-'30s, singing in the school choir. They began appearing on radio and in 1937, landed a job on the CBS network replacing the Oleanders (whose lead singer, Billy Williams, had left to form the Charioteers). The Deep River Boys signed with Bluebird Records in 1940 and began recording material, including "By the Light of the Silvery Moon" (which featured Fats Waller on piano). When Harry Douglas went into the Army, he was replaced by Leroy Wayman, who in turn was replaced by Rhett Butler. Douglas returned to the group in 1946 and the Deep River Boys began enjoying their biggest success, appearing on Milton Berle's and Kate Smith's shows and touring with Bill "Bojangles" Robinson.

Like many vocal groups in their day, the Deep River Boys had more success with live performance than record sales, and it wasn't until 1948's "Recess in Heaven" that they enjoyed their first hit. Unfortunately, the newer R&B was just then emerging and their gospel sound was being pushed aside by popular vocal groups like the Dominoes, the Orioles, and the Ravens. Unlike the 5 Royales (a gospel group who began recording R&B sides for Apollo), the Deep River Boys were reluctant to change; instead, they followed the path of another great gospel group of the '40s — the Delta Rhythm Boys — and began performing more often in Europe.

They spent the early '50s shuttling back and forth, working in America with the Count Basie Band during 1951 and Erskine Hawkins, but also signed on for a record-breaking ten-week engagement at the London Palladium. They later left RCA for the independent Beacon Records label, which had been reactivated by owner Joe Davis. However, several singles for Beacon failed to generate any new interest and the Boys returned to RCA. In September of 1953, Cam Williams replaced Jim Lundy and the newly configured Deep River Boys returned to England and signed on for a nine-week appearance at the London Palladium. In the springtime of 1954, they once again found themselves back on Davis' Beacon Records for a second time. Throughout the rest of their career, the Deep River Boys continued to have sporadic releases on labels such as the RCA-subsidiary Vik Records, as well as Gallant and Wand.

George Lawson retired in 1950, followed six years later by Ed Ware in 1956 (he died shortly after). Vernon Gardner also left in 1956. Bass vocalist Ronnie Bright replaced Ware (he'd previously been in the Cadillacs). In 1963, Bright had a hit of his own, "Mr. Bass Man" (number 16) with Johnny Cymbal. He later joined Carl Gardner's lineup of the Coasters. Amazingly, a Harry Douglas-led Deep River Boys (with a revolving lineup of new members) continued to make appearances well into the 1980s, 50 years after their founding. In his 80's, Douglas continues to perform occasionally.

Album: London Harmony (Disc 1)
Bitrate: MP3@320K/s
Time: 63:28
Size: 145.3 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:23] 1. That Lucky Old Sun
[3:00] 2. Too-Whit, Too Whoo
[3:15] 3. Down In The Glen
[3:08] 4. Oh Tell Me Gypsy
[2:52] 5. Bewitched
[2:44] 6. Ashes Of Roses
[2:09] 7. I Still Love You
[2:39] 8. Sept..Ember Song
[2:41] 9. The Stars Are The Windows Of Heaven
[3:07] 10. Mister & Mississippi
[2:46] 11. May The Good Lord Bless & Keep You
[3:04] 12. Too Young
[3:24] 13. My Yiddisher Momma
[3:43] 14. Eili Eili
[2:22] 15. Deep Water
[2:38] 16. I Won't Cry Anymore
[2:46] 17. (It's No) Sin
[2:56] 18. Glad Rag Doll
[3:06] 19. Don't Trade Your Love For Gold
[3:41] 20. Only Fascination
[2:45] 21. Trying
[2:07] 22. Tennessee News Boy

London Harmony (Disc 1)

Album: London Harmony (Disc 2)
Bitrate: MP3@320K/s
Time: 54:24
Size: 124.5 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:22] 1. A Kiss & A Cuddle Polka
[2:27] 2. Sweet Mama Tree Top Tall
[2:42] 3. My Castle On The Nile
[2:22] 4. Lucky Black Cat
[2:49] 5. Romance Al A Mode
[2:18] 6. Shake Rattle & Roll
[2:49] 7. St Louis Blues
[2:58] 8. Smack Dab In The Middle
[2:33] 9. I Wonder
[2:36] 10. Rock Around The Clock
[3:08] 11. Adam Never Had A Mummy
[2:34] 12. Rock A Beatin' Boogie
[2:20] 13. Just A Little Bit More
[2:45] 14. That's Right
[2:13] 15. Honey Honey
[2:36] 16. Whole Lotta Shaking Goin' On
[2:38] 17. There's A Goldmine In The Sky
[2:04] 18. Not Too Old To Rock And Roll
[2:18] 19. Slow Train To Nowhere
[3:17] 20. I'm Confessin'
[2:26] 21. TItchy Twitchy Feelin'

London Harmony (Disc 2)

Tori Sparks - La Huerta

Bitrate: MP3@320K/s
Time: 54:04
Size: 123.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:54] 1. Nature Boy
[3:07] 2. Bitter Seeds
[4:54] 3. La Leyenda Del Tiempo
[5:27] 4. Kashmir
[4:00] 5. La Huerta
[5:15] 6. Until Morning
[4:45] 7. Veinte Anos
[3:24] 8. Little Wars
[3:29] 9. On My Mind
[4:05] 10. Vete
[5:55] 11. Malena
[5:43] 12. Wade In The Water

American singer-songwriter Tori Sparks made the move from Nashville, TN (US) to Barcelona. Her fifth album El Mar (Glass Mountain Records, 2014) was a collaboration with flamenco fusion trio Calamento. The album began as a curious experiment after a chance meeting at a benefit concert. Over months of rehearsals in a basement in Barcelona, a strange and beautiful synthesis sprang from the mix of Tori's blues, rock, and folk sensibilities with the Spanish musicians' atypical take on flamenco and jazz fusion. The bilingual project was an unexpected international success, called "indescribable, incredible" (Deruting), "adventurous, pushing the envelope" (Rolling Stone), and "extremely special, a monster of a record [Top 20 Albums of the Year]" (Orpheo). The band went on to triumph on the festival circuit (Voll-Damm International Jazz Festival, (In)Fusion Flamenca, the GREC Festival, others) as well as in tours in Germany, Spain, Portugal, Italy, and beyond. Two years later, Tori Sparks + Calamento have returned to the studio, but with one major difference: The quartet has become a quintet.

“La Huerta” (la ware-tah), means “the garden” in Spanish. This isn’t a garden composed of hothouse flowers and luxury landscaping – it’s the garden you’d find behind your house, full of nourishing plants, wild creatures, and weeds. It’s the patch of land where you plant your expectations, decisions, dreams, hopes, hatreds, losses, wishes, loves, mistakes. This is where the fruit of every seed you have ever planted grows… and grows.

Tori Sparks, Calamento and El Rubio presented the new album La Huerta for the first time in concert at Luz de Gas in Barcelona on February 23rd, and at Sala Clamores in Madrid on March 30th.

La Huerta

The Chico Hamilton Quintet - The Three Faces Of Chico Hamilton

Bitrate: MP3@320K/s
Time: 35:42
Size: 81.8 MB
Styles: Bop, West Coast jazz
Year: 1959/2013
Art: Front

[2:13] 1. Miss Movement
[2:47] 2. She's Funny That Way
[4:25] 3. Trinkets
[5:51] 4. More Than You Know
[2:36] 5. The Best Things In Life Are Free
[2:25] 6. Where Or When
[2:11] 7. Happy Little Dance
[4:35] 8. Newport News
[2:57] 9. I Don't Know Why (I Just Do)
[5:38] 10. No Speak English, Man

A fine showcase for Chico Hamilton as a triple-threat artist: drummer extraordinaire ("Miss Movement," "Trinkets," etc.), vocalist ("She's Funny That Way," "The Best Things in Life Are Free," "Where or When"), and, of course, leader. His vocals are reminiscent of Nat King Cole, with subtleties all his own, and his drumming is just as impressive amid its own set of superlatives, many of which are shown off on the Hamilton originals "Happy Little Dance" and "Trinkets." The other members of the group, Wyatt Ruther (bass), Eric Dolphy (flute, reeds), Dennis Budimer (guitar), and Nathan Gershman (cello), get their own moments to shine, on "Newport News," "I Don't Know Why (I Just Do)," etc. Hamilton also brought in a full reed section for several numbers here, in acknowledgement of his own appreciation of the classic 1940s big-band sound. And the contrasts with the quartet and solo numbers make this one of the most diversely textured and wide-ranging of all Chico Hamilton albums. ~Bruce Eder

The Three Faces of Chico  

Gene Krupa - Drums Drums Drums

Styles: Jazz, Swing
Year: 2002
File: MP3@320K/s
Time: 61:04
Size: 140,5 MB
Art: Front

(3:00)  1. Drummin' Man
(3:04)  2. Leave Us Leap
(3:10)  3. Drum Boogie
(3:23)  4. Boogie Blues
(2:53)  5. Bolero At The Savoy
(2:55)  6. Lover
(3:17)  7. Massachusetts
(2:55)  8. Symphony In Riffs
(2:58)  9. Opus One
(2:39) 10. After You've Gone
(2:35) 11. Do You Wanna Jump, Children
(2:59) 12. Tuxedo Junction
(3:25) 13. Boog-It
(3:25) 14. Body & Soul
(3:13) 15. That's What You Think
(3:17) 16. Wire Brush Stomp
(2:30) 17. Nagasaki
(3:12) 18. Disk Jockey Jump
(2:43) 19. Rhumboogie
(3:20) 20. How High The Moon

This 20-song collection, evidently made up of radio airchecks that are effectively out of copyright overseas, makes a good companion to Sony's Gene Krupa hits and Anita O'Day/Roy Eldridge collections. It doesn't have "Let Me Off Uptown," but it does include O'Day's extraordinary "Boogie Blues," "Bolero at the Savoy," and "Massachusetts," and performances by scat-singing star Leo Watson. Further, Roy Eldridge is featured on at least half the cuts here in prominent solos, but the producers have also included tracks by the later Krupa line-ups, which included Charlie Ventura and Gerry Mulligan, working in leaner, more modern jazz surroundings. The sound quality is above average for the period, with minimal distortion and a clean, close sound. The drums, of course, are prominent (nowhere more so than on "Wire Brush Stomp"), but the solos by Eldridge and the other featured members of Krupa's various bands also come out loud and richly textured. Of the music itself, there's only one really weak link here, Krupa's much-too-fast treatment of the Richard Rodgers/Lorenz Hart waltz "Lover," and it is more than made up for by the presence of O'Day's singing on "That's What You Think." And it's all budget priced too. ~ Bruce Eder http://www.allmusic.com/album/drums-drums-drums-mw0000533832

Personnel:  Drums – Gene Krupa;  Saxophone – Charlie Ventura (tracks: 14);  Trumpet – Roy Eldridge (tracks: 10);  Vocals – Anita O'Day (tracks: 4, 5, 7, 9, 15), Irene Daye (tracks: 1, 3, 13, 19), Leo Watson (tracks: 11, 17)

Drums Drums Drums

Patricia Dean - Moments like this

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 49:53
Size: 114,3 MB
Art: Front

(2:43)  1. I can't believe that you're in love with me
(5:27)  2. Stairway to the stars
(5:31)  3. Come back my love
(5:46)  4. For heaven's sake
(3:21)  5. Give me the simple life
(3:47)  6. Never let me go
(3:33)  7. Garota de Ipanema
(4:04)  8. There's no you
(4:15)  9. Close your eyes
(5:54) 10. Round midnight
(3:02) 11. Moments like this
(2:25) 12. But beautiful

This self-produced project has the distinction of being mastered by 2006 Record of the Year Grammy award winner Arnie Acosta. Recorded and engineered at Eastern Sky studios in Orlando, FL by Dave Brown (featured in Mix Magazine) this album has a warm ambience that makes it a pleasure to listen to.

A collection of choice ballads, bossa novas and swing tunes demonstrating Patricia’s rich vocal quality, paying tribute to her favorite singers: Nancy Wilson, Sarah Vaughan, Shirley Horn and Julie London. In addition, she also happens to be an accomplished drummer featured on several tracks. Her exquisite treatment of the album's six ballads reveals her innate sense of timing and expression, leaving the listener wanting more of this enchanting songstress. "Come Back My Love" an original melody written by her father the late Don Dean, Sr. features the gorgeous trombone sound of Herb Bruce. Her arrangement of Jobim's classic "Garota de Ipanema" is reharmonized to give this timeless standard a fresh sound with an authentic reading of the original Portuguese lyric. "Close Your Eyes" has an exotic Middle Eastern flavor thanks to guitarist Mark Speights featured on the Choral Sitar with a haunting clarinet interlude by Jim Snyder paying homage to the original Benny Goodman recording. Pianist Charlie Prawdzik is all taste and bassist Jay Mueller provides a solid groove on all but one of the tracks. Patricia Dean is a respected musician and vocalist who began her career at the age of 14 performing with her father and brother in the Tampa Bay area. A native Floridian, Patricia has travelled extensively with her own trio, and has performed with Harry Allen, Kenny Drew, Jr., as well as Jazz legends Nat Adderley, John LaPorta and Ira Sullivan. On a personal note...11/15/10, Our wonderful pianist on this project, Charlie Prawdzik passed away 10/31/10 after a year long battle with Lou Gehrig's disease. His contribution to this project was priceless and he will always be remember for his tasteful and supportive  playing and his dry wit. Thank you, Charlie..  https://store.cdbaby.com/cd/patriciadean

Moments like this

The Frank Capp Juggernaut - Play It Again Sam

Styles: Jazz, Bop
Year: 1997
File: MP3@320K/s
Time: 55:01
Size: 129,2 MB
Art: Front

(3:09)  1. The Heat's On
(6:35)  2. Warm Breeze
(6:07)  3. Ja-Da
(3:48)  4. Sweet Georgia Brown
(2:17)  5. Katy
(3:32)  6. Wind Machine
(3:46)  7. Soft As Velvet
(3:15)  8. Ya Gotta Try
(6:16)  9. Freckle Face
(4:16) 10. Satin 'N' Glass
(6:46) 11. 88 Basie Street
(5:06) 12. Night Flight

On the one hand, the music on this set, which features the Frank Capp Juggernaut performing a dozen Sammy Nestico arrangements, is quite predictable. After all, the Juggernaut's playing has always been based on the style of Count Basie, so its interpretations of Nestico's music (ten of the 12 songs are his) is very much in the Basie tradition. But on the other hand, the enthusiasm of the band, the high musicianship and the many exciting solos make this into a very enjoyable performance that all fans of swinging big bands will want. Among the many top soloists are trumpeters Conte Candoli, Carl Saunders, Bob Summers and Bill Berry, trombonists Andy Martin and Thurman Green, pianist Gerry Wiggins and the tenors of Pete Christlieb and Rickey Woodard. In fact, on "88 Basie Street," all 18 musicians in the orchestra get four-bars apiece. Other highlights include "The Heat's On," "Wind Machine," "Ya Gotta Try" and "Freckle Face."~ Scott Yanow http://www.allmusic.com/album/play-it-again-sam-mw0000096900

Personnel: Frank Capp (drums); Barry Zweig, John Pisano (guitar); Jackie Kelso, Steve Wilkerson (alto saxophone); Pete Christlieb, Rickey Woodard (tenor saxophone); Bob Efford (baritone saxophone); Conte Candoli, Bill Berry , Frank Szabo, Bob Summers, Carl Saunders (trumpet); George Bohannon, Dana Hughes, Alan Kaplan, Andy Martin , Thurman Green, Wendell Kelly (trombone); Gerry Wiggins (piano).

Play It Again Sam

'Papa' John Defrancesco - Walking Uptown

Styles: Jazz, Jazz Funk
Year: 2004
File: MP3@320K/s
Time: 58:10
Size: 133,4 MB
Art: Front

(5:36)  1. One For Jack Mac
(7:58)  2. Sunny
(7:28)  3. People Get Ready
(7:58)  4. 160 Million Dollar Chinese Man
(6:55)  5. Mojo
(8:07)  6. Walking Uptown
(5:06)  7. Delaware Fox
(8:59)  8. What Happened

Papa John DeFrancesco, the father of Joey DeFrancesco, is a talented organist himself. On this informal set with his quartet (which also includes tenor-saxophonist Tim Warfield, his other musical son, guitarist Johnny DeFrancesco, and drummer Glenn Ferracone), Papa John mostly sticks to the blues and bluish material. In addition to a swinging version of "Sunny," the gospel-ish "People Get Ready," the funky "160 Million Dollar Chinese Man" (from the remake of Ocean's 11), and a vamp piece ("What Happened"), there are four blues at various tempos and levels of funk. Joey DeFrancesco makes guest appearances on two tracks (one apiece on trumpet and piano) and bassist Paul Klinefelter is on one number but otherwise the basic quartet is showcased romping and stomping out their brand of soulful blues. ~ Scott Yanow http://www.allmusic.com/album/walking-uptown-mw0000165873

Personnel: Papa John DeFrancesco (Hammond b-3 organ); Johnny DeFrancesco (guitar); Paul Klinefelter (double bass); Tim Warfield (soprano saxophone, tenor saxophone); Joey DeFrancesco (trumpet, piano); Glenn Ferracone (drums, percussion).

Walking Uptown

Tuesday, June 20, 2017

Christine Tassan & Les Imposteures - De Bon Matin

Size: 104,8 MB
Time: 44:31
File: MP3 @ 320K/s
Released: 2007
Styles: Gipsy Jazz, Vocals
Art: Front

01. De Bon Matin (3:52)
02. Chanson Non Violente (3:12)
03. Bluesette (2:34)
04. Lit Vert (2:41)
05. Venez Donc Chez Moi (3:32)
06. Libertango (4:11)
07. En Tombant Gentiment (5:01)
08. L'Homme A La Moto (2:36)
09. Swing 2006 (3:47)
10. Les Rendez-Vous (4:20)
11. La P'tite Vite (2:33)
12. Le Pouding A L'Arsenic (2:45)
13. Sweet Georgia Brown (3:24)

Personnel:
Christine Tassan: guitare soliste, rythmique et voix
Martine Gaumond: violon et voix
Lise-Anne Ross: guitare rythmique et voix
Karine Chapdelaine: contrebasse et voix

Guests:
Sonia Racine (voix), Ghislaine Betie Dubuc (accordéon), Eric Khayat (Saxophone), Mohamed Masmoudi (Oud).

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women.

Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events Christine Tassan, Lise-Anne Ross et Blanche Baillargeonand tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart.

In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage !

Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen.

On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. But it’s their communicative energy and the personal bondBlanche Baillargeon, Martine Gaumond et Lise-Anne Ross between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity.

Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show..

De Bon Matin 

Denise King & Massimo Farao - Between Us

Size: 107,4 MB
Time: 46:11
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Save Your Love For Me (5:16)
02. St. Luois Blues (6:43)
03. Amazing Grace (5:16)
04. Easy Living (5:37)
05. My Baby Just Cares For Me (3:21)
06. I'm A Fool To Want You (3:56)
07. Polka Dots And Moonbeams (6:35)
08. What A Difference A Day Made (4:20)
09. A Nightingale Sand In Berkeley Square (5:04)

Denise King is a Philadelphia vocalist who has made the world her oyster with her unique ability to navigate between rhythm and blues and sultry jazz standards. Discovered in the 1980s by an R&B songwriter-producer, King quickly found her way in the City of Brotherly Love with some of the top musicians in both popular and jazz settings. In the New Millennium, she has been shuttling back and forth between the U.S. and Europe delivering stellar performances on both continents. With her smooth and sultry voice, impeccable sense of timing, interpretive depth, and immersion in the tradition of the great singers, King brings out the best in any genre. For example, in just one of her albums, Fever, she is equally at home with Antonio Carlos Jobim's "Wave," the unsung ballad, "Never Let Me Go," the Shirelles' pop song, "Will You Still Love Me Tomorrow," and the rocking "I've Got My Mojo Workin.'" She takes each song on its own merit while adding her unmistakable personal stamp. Among her various projects, she does a traveling Tribute to Sarah Vaughan, one of her idols with whom she shares many fine qualities. King also has a strong personality and life story that can be entertaining and at the same time cut deeply into the soul. ~by Victor L. Schermer

Between Us

Vijay Iyer - Blood Sutra

Size: 135,6 MB
Time: 58:13
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz
Art: Front

01. Proximity (2:12)
02. Brute Facts (6:10)
03. Habeas Corpus (5:57)
04. Ascent (1:22)
05. When History Sleeps (6:07)
06. Questions Of Agency (5:10)
07. Kinship (6:09)
08. Stigmatism (4:02)
09. That Much Music (2:31)
10. Imagined Nations (6:10)
11. Because Of Guns (7:42)
12. Desiring (4:36)

You get the feeling that piansist Vijay Iyer is shifting into a period of transition with the opening track on his new CD, Blood Sutra. "Proximity (Crossroads)" is – uncharacteristicaly for Iyer – a slow tempo bit of introspection, with a swish of brush and stickwork painting washes behind the hard-edged piano notes. But the "Brute Facts" jolts out of the speakers next, in a full frontal assault, in very Iyer-esque fashion. Propulsive, urgent, jarring even, riding a relentless rhythmic momentum, forward, always forward with Iyer.

The pianist is becoming the new standard bearer of the percussive school of playing, and he has picked some very simpatico bandmates to help him push his musical vision out there. As on his ground-breaking Panoptic Modes (Red Giant, 2001), Rudesh Mahanthappa is back blowing alto sax; and his is a rather flat, low resonance tone that compliments Iyer's ringing aggressivness. Stephan Crump is here again, too, on bass, and his sound lends a bit of fluidity and looseness to the drive; while drummer Tysheen Sorey (new to me) asserts his timekeeping chops – no small feat when playing with Iyer.

An initial listen to Blood Sutra had me thinking "no new ground broken here" since Panoptic Modes and You Life Flashes (Pi Records, 2002) by Fieldwork, an Iyer trio vehicle. But a "sit down and concentrate on the sounds" session reveals nuances and subtle shadings creeping in. "A Question of Agency" is particularly interesting with its four way interplay; and "Because of Guns/ Hey Joe Redux" resurrects – in fittingly ominous fashion – the old blues tune, done probably most famously by Jimi Hendrix on his first album.

"Stigmatism" plays as I write this, and Stephan Crump's bass seems to be trying to push Iyer's sharp notes – that the piansist drives down like tent stakes – around, with mixed, but beautiful results. And now "This Much Music" brings Cecil Taylor to mind.

Vijay Iyer evolves in fascinating fashion. ~by Dan McClenaghan

Personnel: Vijay Iyer--piano; Rudresh Mahanthappa--alto sax; Stephan Crump--bass; Tyshawn Sorey--drums

Blood Sutra

Big Miller & Tommy Banks - Legacy

Size: 99,9 MB
Time: 36:48
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Hey There (2:34)
02. When Sunny Gets Blue (3:30)
03. Bye Bye Blackbird (4:30)
04. Without A Song (5:35)
05. If I Ruled The World (5:14)
06. But Beautiful (4:07)
07. All Of Me (2:36)
08. Since I Fell For You (5:17)
09. We'll Be Together Again (3:21)

The Edmonton Jazz Society and the Yardbird Suite are pleased to host the official release of a new duet album featuring the late and legendary jazz singer, Clarence “Big” Miller and Canadian jazz icon, Tommy Banks on piano.

The new release, Legacy, was produced by Edmonton native George Blondheim. Blondheim is recognized internationally as a multi-award winning composer, producer and pianist.

The nine never-before heard songs were originally recorded in August 1989 at Edmonton’s Beta Sound Recorders. With Big’s untimely passing in 1992, the recordings remained stored away on a hard drive. Now, almost 30 years later , Legacy is being released by Chronograph Records in conjunction with the Yardbird Suite’s 60th Anniversary celebrations, with proceeds in support of the educational programs of the Edmonton Jazz Society and Yardbird Suite.

Those who remember Big will now be able to hear that terrific voice, warm personality and unique delivery once again. A new audience of jazz lovers will appreciate his beautiful tone and timeless style. Big and Tommy began working together in the 1970s and travelled across Canada performing in many musical settings including duo concerts and CBC broadcasts. This rare moment in studio was intended as a demo session working toward an album, but fate intervened and Big and Tommy were never able to make the final recording Blondheim envisioned.

About Big Miller (1922-1992):
Clarence “Big” Miller was a jazz musician, blues singer, trombonist, and educator born in Sioux City, Iowa. By 1960, Big Miller had sung with the Jay McShann and Duke Ellington orchestras and recorded with Bob Brookmeyer, Rex Stewart and Jon Hendricks. Miller made his Canadian debut in 1962 and took up residence in Vancouver in 1967 before settling in Edmonton by 1970 where he went on to make a significant impact on the musical and cultural scene. He subsequently led a variety of small jazz and blues bands in western Canada but also toured nationally with Phil Nimmons, and travelled abroad as a soloist. He taught at the Banff Centre and Grant MacEwan College, and was awarded an honorary doctorate by Athabasca University in 1985. The subject of the National Film Board documentary Big and the Blues (1980), Miller recorded several albums during his Canadian years, including the JUNO Award-winning Jazz Canada Montreux with the Tommy Banks Orchestra (1978), Live from Calgary (1982) and Live at Athabasca College (1989). Big Miller with Tommy Banks' Big Band was released posthumously in 1997. He touched many lives with his beautiful voice, his energy and most of all, his love and respect for his fellow human beings. He was an absolute original soul and talent.

Legacy

Lesley Lambert - You Don't Know Me

Size: 103,6 MB
Time: 44:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Blues Vocals
Art: Front

01. At Last (4:37)
02. Blue Moon (3:27)
03. I Love Paris (3:56)
04. I'd Go Back Home (4:41)
05. Isn't This A Lovely Day (3:48)
06. I've Got My Love To Keep Me Warm (4:12)
07. Lover Come Back To Me (3:40)
08. Lover Man (4:51)
09. Sposin' (4:02)
10. Thou Swell (2:45)
11. You Don't Know Me (3:58)

Australian Jazz Singer.

You Don't Know Me

Thad Jones - Detroit-New York Junction

Bitrate: MP3@320K/s
Time: 34:17
Size: 78.5 MB
Styles: Trumpet jazz
Year: 1956
Art: Front

[ 6:44] 1. Blue Room
[ 5:29] 2. Tariff
[ 2:48] 3. Little Girl Blue
[10:28] 4. Scratch
[ 8:46] 5. Zec

Before he became famous as the leader of a big band, Thad Jones was a trumpet player, and a damn good one. In 1956, Jones led his first jazz group. It was a small sextet—unlike his later, more celebrated ensemble, co-led by Mel Lewis. This short album, which chronicles that session, has only five songs and runs just 34 minutes. There are no alternate takes.

It's a pleasant album, but not a great one. There is nothing innovative here, or particularly memorable. Jones has a nice tone and decent chops, but he won't make you forget Dizzy Gillespie or Miles Davis, at least not on this CD. In fact, while listening to the first two songs, you might forget that Jones is the leader of this group. On "Blue Room" (a Rodger-and-Hart tune) and "Tariff" (a Jones original), the leader let's everyone else take the early solos. So we hear guitarist Kenny Burrell, saxman Billy Mitchell and pianist Tommy Flanagan before we ever hear Jones play alone. All the more confounding, Burrell, Mitchell and Flanagan sound more interesting. The most unusual piece is also the best. "Little Girl," another Rodgers-and-Hart song, is utter simplicity, and very simply arranged: just guitar and trumpet, with bass lurking somewhere deep in the background. It's an unassuming ballad, not especially sentimental or soulful. But it's fascinating in its simplicity. At just under three minutes, it's the shortest cut on the CD. Too bad. Two more Jones originals—the 10-minute "Scratch" and the 8-minute "Zec"—finish the disc. Both are upbeat, the latter boppish, and Jones properly takes the lead and plays interesting solos. And then it's over, too soon.

Jones recorded two more sessions for Blue Note, both better than this first one. Detroit-New York Junction (named for Jones' hometown and adopted new town), was just a warm-up.

Detroit-New York Junction

Lara Luppi, Joe Pisto - Shapes

Bitrate: MP3@320K/s
Time: 34:53
Size: 79.9 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:49] 1. The Siren's Moon
[4:11] 2. Pastime Paradise
[4:12] 3. For What It's Worth
[4:53] 4. Shape Of My Heart
[3:50] 5. I'm Crazy
[3:51] 6. This Masguerade
[2:53] 7. Call Me
[3:41] 8. Ain't No Sunshine
[3:28] 9. Talk To Your Daughter

Lara Luppi: "...I sing jazz, pop, gospel . I share different artistic projects with other musicians giving my original and personal contribution in arranging, improvising, composing the music and in editing a show. I work thanks to a constant inspiration given to me mostly by the fabolous artists I work and has worked with. My thankfulness and joy goes to Lucio Bruni, Rev. Lee Brown and all the Freedom Family Gospel Choir, The Jumpin’ Shoes, Sandra Cartolari, Joe Pisto, The Blue Midnight Orchestra alltogether, Stefano Cappa and Lucio Caliendo, Marco Remondini, Andrea Minelli, God’s Angels, Oracle’s King Blues Band, Bruno Marini, Sheila Jordan and all the great jazz musicians I met through all these years..."

I've been hosted with my bands at : Jvc Festival Torino.; “Jazz’n’it”, Vignola; Barcollando nel jazz E.J.N; Musincanto Torino; Albinea Jazz Festival ; Ivrea Jazz Festival; Villa Celimontana Jazz and Image, Roma; Ferrara In Jazz al Torrione Jazz Club; New Orleans Jazz Heritage, Ferrara; Bolzano Jazz and Other Festival; Bologna Jazz Festival at Cantina Bentivoglio; Rapperswil Blues and Jazz Festival (Ch)..."

Joe Pisto: Joe Pisto stands out for his exceptional way of using his voice and guitar. He has a unique personal style, an expressive and versatile voice for jazz, soul and experimental vocals. His command of rhythm, phrasing, scat and dynamics make him more like a virtuoso jazz instrumentalist than a simple vocalist. He has won many international awards, collalborated with international musicians like: Eumir Deodato, Jeff Berlin, Paolo Fresu, Fabrizio Bosso, Omar Lye Fook, Andrea Bocelli, Dario Deidda, Ross Stanley, Marco Tamburini, Roberto Tarenzi, Michele Papadia, Mimmo Campanale, Aldo Vigorito, Alfonso Deidda, Stef Burns, Brandon Allen, Quentin Collins, Fausto Beccalossi, Hiram Bullock, Jim Mullen, ecc.

Shapes

Pat Martino - Impressions

Bitrate: MP3@320K/s
Time: 49:22
Size: 113.0 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[4:37] 1. Impressions
[5:25] 2. Willow Weep For Me
[5:22] 3. Along Came Betty
[4:48] 4. Days Of Wine And Roses
[4:33] 5. The Visit
[7:47] 6. I Remember Clifford
[6:08] 7. Willow
[4:57] 8. Lament
[5:39] 9. Road Song

Impressions collects tracks from four of guitarist Pat Martino's best Muse albums from the '70s, including 1974's Consciousness, 1975's Footprints, 1976's We'll Be Together Again, and 1977's Exit. From Martino's most well-known and perhaps most creative period, these albums found the technically deft musician tackling everything from American popular song to jazz standards and his own superb original compositions. Completists will most likely want to seek out the original albums, but as an introduction to Martino's work, Impressions is as good a place to start as any. ~Matt Collar

Impressions

Ritchie Valens - The Best Of

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Pop/Rock n Roll
Year: 1986/2006
Art: Front

[2:08] 1. La Bamba
[1:46] 2. Bluebirds Over The Mountain
[2:18] 3. In A Turkish Town
[1:50] 4. Ooh! My Head
[2:30] 5. Paddi-Wack Song
[2:23] 6. Stay Beside Me
[3:01] 7. Malagueña
[2:14] 8. Framed
[2:04] 9. Come On, Let's Go
[2:29] 10. Donna
[2:01] 11. Fast Freight
[1:57] 12. We Belong Together
[1:53] 13. That's My Little Susie
[1:54] 14. Hurry Up
[2:23] 15. Little Girl
[2:04] 16. Hi-Tone

Richard Steven Valenzuela (May 13, 1941 – February 3, 1959), known as Ritchie Valens, was an American singer, songwriter and guitarist. A rock and roll pioneer and a forefather of the Chicano rock movement, Valens' recording career lasted only eight months. During this time, he had several hits, most notably "La Bamba", which was originally a Mexican folk song. Valens transformed the song into one with a rock rhythm and beat, and it became a hit in 1958, making Valens a pioneer of the Spanish-speaking rock and roll movement.

The Best Of

June Christy - A Passion For Jazz Vol 49

Bitrate: MP3@320K/s
Time: 62:51
Size: 143.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[2:45] 1. If I Should Lose You
[2:43] 2. It’s Been A Long, Long Time
[3:02] 3. I Never Thought I’d Sing The Blues
[3:49] 4. On The Sunny Side Of The Street
[2:38] 5. Across The Valley From Alamo
[3:03] 6. Little Grass Skirt
[2:47] 7. Day Dream
[2:42] 8. Tampico
[2:40] 9. No Baby, Nobody But You
[3:00] 10. I’ll Bet You Do
[2:48] 11. Skip Rope
[3:05] 12. Willow Weep For Me
[3:02] 13. Ain’t No Misery In Me
[2:45] 14. I Let A Song Go Out Of My Heart
[2:26] 15. Are You Livin’ Old Man
[3:00] 16. I Got The Sun In The Morning
[2:38] 17. Just A Sittin’ And A Rockin’
[2:22] 18. Ride On
[2:15] 19. That’s The Stuff You Gotta Watch
[3:35] 20. Easy Street
[3:01] 21. Come Rain Or Come Shine
[2:34] 22. Shoo Fly Pie And Apple Pan Dowdy

Though she was the epitome of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from arranger friends like Pete Rugolo. Rugolo would become a consistent companion far into her solo days, too, arranging most of her LPs and balancing her gymnastic vocal abilities with a series of attentive charts.

Born Shirley Luster in Springfield, IL, she began singing early on and appeared with a local society band during high school. She moved to Chicago in the early '40s, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. In 1945, after hearing that Anita O'Day had just left Stan Kenton's Orchestra, she auditioned for the role and got it early that year. Despite an early resemblance (physically and vocally) to O'Day, the singer -- renamed June Christy -- soon found her own style: a warm, chipper voice that stretched out beautifully and enlivened Kenton's crossover novelties ("Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico") as well as the leader's intricately arranged standards ("How High the Moon"). As she became more and more popular within the Kenton band, arranger Pete Rugolo began writing charts with her style especially in mind. After the Kenton orchestra broke up in 1948, Christy worked the nightclub circuit for awhile before reuniting with Kenton for his 1950 Innovations in Modern Music Orchestra, a very modern 40-piece group that toured America. She had already debuted as a solo act the year before, recording for Capitol with a group led by her husband, Kenton tenor saxophonist Bob Cooper. ~John Bush

A Passion For Jazz Vol 49

Lluis Coloma - Lonely Avenue

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Piano jazz
Year: 2006
Art: Front

[4:06] 1. Goin' To Malaysia
[3:46] 2. Rolling Left Hand
[3:44] 3. Lonely Avenue
[6:06] 4. The Ball
[4:25] 5. The Spirit Of The Blues
[5:15] 6. Early Days
[4:25] 7. Magda
[3:13] 8. Jumping Fives
[5:30] 9. New Blues
[4:56] 10. Slow Sunset Blues
[4:17] 11. Yancey Meets Booker
[4:13] 12. Tea At Dawn (Part 1)
[7:31] 13. Tea At Dawn (Part 2)

Lluis Coloma (p, org), Manolo German (b), Marc Ruiz (d), Pep Pascual (as), Dani Perez (ts), Natxo Romero (ts), Joan Chamorro (bs), R.M. Gera (g), Manuel Quintana (conga). Recorded at Rosazul Studio, Barcelona, June 15th to 18th, 2006.

From his beginning this outstanding Catalan pianist has been developing a personal touch and an incredible left hand offering powerful performances full of virtuosity and creativity, where he breaks up the piano with hot and tasty organ Hammond B3 tunes. Being one of the most requested piano players in Spain and considered an specialist, he has lectured on the history of Blues and Boogie Woogie piano, being one of the few pianists in Spain able to recreate the primitive styles of this genre.

Lluís Coloma plays his own compositions in a performance full of power, dynamics and honesty. His music evokes the New Orleans pianists sound going trough Barrelhouse style to Chicago, cradle of electric Blues. In his new album, Lluis Colomas trio is accompanied by four saxophonists, a guitarist and a percussionist. His music is a pure boogie-woogie jazz.

Lonely Avenue

Howard Alden & Ken Peplowski - Pow - Wow

Styles: Guitar, Saxophone And Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 61:25
Size: 147,2 MB
Art: Front

(4:02)  1. Pow Wow
(6:42)  2. Dream Dancing
(6:27)  3. Did I Remember
(5:37)  4. Very Early
(2:39)  5. Who Knows
(5:39)  6. After All
(5:56)  7. Bossango
(3:37)  8. I See Your Face Before Me
(3:02)  9. Tempus Fugit
(1:56) 10. The Land of the Loon
(5:24) 11. The Things We Did Last Summer
(6:11) 12. Panama
(4:08) 13. Lucky to Be Me

Whether you were fortunate enough or not to have caught Howard Alden and Ken Peplowski's 2007 reunion art New York's Bargemusic, Pow-Wow will do very nicely to dig these longtime musical good companions. Much of the Barge evening drew upon Pow-Wow, offering a perfect, quietly spectacular skyline setting for these two, both who eschew pyrotechnics. Their playing is exciting enough in its simplicity. Hearing their variety, range and richness can make it seem like listening to more than just two players. The title track (guitarist Joe Puma's tune, based on the changes of Ray Noble's "Cherokee ) starts the CD off in such jumping synchronicity that Alden's guitar and Peplowski's tenor sax seem to be a multi-voiced single instrument. Another high point, "Did I Remember?, is a gem which Billie Holiday sang on her first recording date. For this nostalgic tune Peplowski switches over to clarinet, and together he and Alden conclude it with a burst of especially exhilarating improvisation. On Duke Ellington's rarely heard "Who Knows, which is somewhat bop-ish in flavor, Peplowski is again on clarinet as he trades playful licks with Alden. It's followed by "After All, a thoughtful Billy Strayhorn beauty, on which the warmth of Peplowski's clarinet is ever so gently supported by Alden. In playing a set that refreshingly mixes near-classics and lesser known nuggets, they cast a spell as emotionally strong as it is thoroughly modern. ~ Andrew Velez https://www.allaboutjazz.com/pow-wow-howard-alden-arbors-records-review-by-andrew-velez.php
 
Personnel:  Howard Alden: guitar;  Ken Peplowski: tenor sax, clarinet.

Pow - Wow