Bob James - Alone: Kaleidoscope by Solo Piano

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 60:35
Size: 139,2 MB
Art: Front

(5:15)  1. Restoration
(4:38)  2. I Can't Give You Anything But Love
(6:30)  3. My Heart Stood Still
(6:07)  4. Never Let Me Go
(5:51)  5. Wild Stallion
(4:43)  6. Karesansui
(5:05)  7. Scarborough Fair
(5:02)  8. It Never Entered My Mind
(3:55)  9. Lover Come Back to Me
(5:02) 10. Garbo Redux
(5:07) 11. Medley (Westchester Lady/Touchdown/Nautilus/Angela)
(3:14) 12. Put Our Hearts Together

Bob James' recordings have practically defined pop/jazz and crossover during the past few decades. Very influenced by pop and movie music, James has often featured R&B-ish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. He actually started out in music going in a much different direction. In 1962, James recorded a bop-ish trio set for Mercury, and three years later his album for ESP was quite avant-garde, with electronic tapes used for effects. After a period with Sarah Vaughan (1965-1968), he became a studio musician, and by 1973 was arranging and working as a producer for CTI. In 1974, James recorded his first purely commercial effort as a leader; he later made big-selling albums for his own Tappan Zee label, Columbia, and Warner Bros., including collaborations with Earl Klugh and David Sanborn. James remains relatively busy in the studio and since 2000 has released several albums including Dancing on the Water in 2001, That Steamin' Feelin' in 2002, Hi-Fi in 2003, and Urban Flamingo in 2006, among others. 

In 2011, he joined pianist Keiko Matsui for Altair & Vega. Two years later, he delivered his second collaboration with saxophonist David Sanborn, 2013's Quartette Humaine. In 2015, James paired with bassist Nathan East on the laid-back studio-session, The New Cool. ~ Scott Yanow https://itunes.apple.com/us/album/alone-kaleidoscope-by-solo-piano/id698439018

Alone: Kaleidoscope by Solo Piano

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Bill Black - Bill Black's Combo Plays All-Timers

Bitrate: MP3@320K/s

Time: 27:34

Size: 63.1 MB

Styles: R&B

Year: 1966/2014

Art: Front

[2:08] 1. Hey, Good Lookin'

[2:24] 2. Bouquet Of Roses

[2:19] 3. Together Again

[2:20] 4. Anytime

[2:06] 5. Mountain Of Love

[2:16] 6. Your Cheating Heart

[2:16] 7. I Walk The Line

[2:09] 8. Half As Much

[2:18] 9. I'm So Lonesome I Could Cry

[2:28] 10. Act Naturally

[2:31] 11. Under Your Spell Again

[2:12] 12. Love's Gonna Live Here

William Patton "Bill" Black, Jr. (September 17, 1926 – October 21, 1965) was an American musician and bandleader who is noted as one of the pioneers of rock and roll music. Black was the bassist in Elvis Presley's early trio after which he formed Bill Black's Combo.

Black was born in Memphis, Tennessee, to a motorman for the Memphis Street Railway. He was the oldest of nine children. His father played popular songs on the banjo and fiddle to entertain the family. Black learned to play music at the age of 14 on an instrument made by his father—a cigar box with a board nailed to it and strings attached. At the age of sixteen, Black was performing "honky-tonk" music on acoustic guitar in local bars.

During World War II, Black was stationed with the U.S. Army at Fort Lee in Virginia. While in the Army, he met Evelyn, who played guitar as the member of a musical family. They married in 1946 and returned to Memphis. Black worked at the Firestone plant.

He began playing the upright bass fiddle, modeling his "slap bass" technique after one of his idols, Fred Maddox of Maddox Brothers and Rose. Black also developed a "stage clown" persona in the same way that Maddox entertained audiences. Black performed as an exaggerated hillbilly with blacked-out teeth, straw hat and overalls. According to his son, Black said his goal was always to give his audience "a few moments of entertainment and maybe a little bit of humor that'll tickle 'em for a while."

In 1952, Black began playing club and radio shows with guitarist Scotty Moore. Along with two other guitarists and a fiddler, they performed country music tunes by Hank Williams and Red Foley in Doug Poindexter's band, the Starlight Wranglers. Black and Moore also played in a band with Paul Burlison, Johnny Burnette, Dorsey Burnette on steel guitar, and a drummer.

Bill Black's Combo Plays All-T 

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Bebo Valdes - Lo Mejor De Bebo Valdes

Bitrate: MP3@320K/s
Time: 41:12
Size: 94.3 MB
Styles: Latin jazz
Year: 2014
Art: Front

[2:31] 1. Sabor
[2:59] 2. Ansiedad
[2:45] 3. Calor De Nido
[2:52] 4. Enferma Del Alma
[2:54] 5. Imágenes
[3:10] 6. La Noche De Anoche
[2:56] 7. Me Recordarás
[3:00] 8. Son Cosas Que Pasan
[3:01] 9. Nuestro Sentimiento
[2:57] 10. Con Locura
[2:47] 11. Tú, No Sospechas
[3:08] 12. Ven Aquí, A La Realidad
[3:01] 13. Yo No Quiero Piedra En Mi Cami
[3:06] 14. Nada Te Puedo Brindar

Dionisio Ramón Emilio Valdés Amaro (October 9, 1918 – March 22, 2013), better known as Bebo Valdés, was a Cuban pianist, bandleader, composer and arranger. He was a central figure in the golden age of Cuban music, led two famous big bands, and was one of the "house" arrangers for the Tropicana Club.

He started his career as a pianist in the nightclubs of Havana during the 1940s. He replaced René Hernández as pianist and arranger in Julio Cueva's band. In October 1946 the band recorded "Rareza del Siglo", one of Bebo's most famous mambos. From 1948 to 1957 he worked as pianist and arranger for the vedette Rita Montaner, who was the lead act in the Tropicana cabaret. His orchestra, Sabor de Cuba, and that of Armando Valdés, alternated at the Tropicana, backing singers such as Benny Moré and Pío Leyva. Valdés played a role in the adaptation of the mambo into the big band format (it was previously performed by charangas) during the late 1940s and 1950s, and developed a new rhythm to compete with Perez Prado's mambo, called the batanga. Valdés was also an important figure in the incipient Afro-Cuban jazz scene in Havana, taking part in sessions commissioned by American producer Norman Granz during 1952. These sessions yielded the famous improvised piece "Con Poco Coco" among others, which served as a precedent to Panart's descarga sessions (with one exception).[5] In the late 1950s he recorded with Nat "King" Cole. In 1960, accompanied by Sabor de Cuba's lead vocalist Rolando Laserie, Bebo defected from Cuba to Mexico. He then lived briefly in the United States before touring Europe, and eventually settled in Stockholm, where he lived until 2007. In Sweden he was instrumental in spreading the techniques of Cuban music and Latin jazz.

Lo Mejor De Bebo Valdes

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Wynonna - Sing Chapter 1

Bitrate: MP3@320K/s
Time: 45:48
Size: 104.9 MB
Styles: Country pop
Year: 2009
Art: Front

[3:03] 1. That's How Rhythm Was Born
[4:03] 2. I'm So Lonesome I Could Cry
[4:37] 3. Women Be Wise
[2:53] 4. I Hear You Knocking
[3:20] 5. Till I Get It Right
[4:46] 6. Are The Good Times Really Over
[2:31] 7. The House Is Rockin'
[3:17] 8. Ain't No Sunshine
[4:02] 9. I'm A Woman
[3:59] 10. Anyone Who Had A Heart
[4:14] 11. When I Fall In Love
[4:57] 12. Sing

Celebrating 25 years in the music business, Wynonna's 7th solo album includes a stunning collection of multi-genre standards from musical legends that have impacted Wynonna's personal life. Wynonna explains, 'Every genre of music is represented on this record. It's all the different chapters of my life. These are the songs that represent snapshots or chapters of everyday life in the Judd family'. Produced by the Grammy Award winning Brent Maher (The Judds, Nickel Creek, Kenny Rogers) and lifelong Judd family friend Don Potter, discover the album that has become known as Wynonna's musical DNA.

Sing Chapter 1

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Jimmy Heath - Picture Of Heath

Bitrate: MP3@320K/s
Time: 41:36
Size: 95.2 MB
Styles: Bop, Saxophone jazz
Year: 1975/2015
Art: Front

[7:23] 1. For Minors Only
[7:24] 2. Body And Soul
[6:02] 3. Picture Of Heath
[9:00] 4. Bruh' Slim
[6:28] 5. All Members
[5:17] 6. CTA

As was true of most Xanadu dates, the accent is on bebop during this Jimmy Heath LP. Doubling on tenor and soprano, Heath is heard on five of his better originals, including "For Minor's Only," "CTA" and the title cut, plus "Body and Soul." The great tenorman was clearly inspired by the stellar rhythm section (pianist Barry Harris, bassist Sam Jones and drummer Billy Higgins), resulting in one of his best blowing sessions. ~Scott Tanow

Picture Of Heath

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Al Hirt - Our Man In New Orleans

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 33:45
Size: 80,0 MB
Art: Front

(2:23)  1. Clarinet Marmalade
(3:05)  2. Ol' Man River
(3:16)  3. New Orleans
(2:18)  4. Panama
(3:17)  5. The Birth Of The Blues
(2:43)  6. Ja-Da
(2:31)  7. Wolverine Blues
(2:27)  8. Oh Dem Golden Slippers
(1:59)  9. When The Saints Go Marching In
(4:01) 10. When It's Sleepy Time Down South
(2:42) 11. Muskrat Ramble
(2:57) 12. Dear Old Southland

Paul Cacia was Al Hirt's lead trumpet player and contracted the brass section for what Al Hirt called his dream band, formed in the fall of 1979.

At the time of receiving the phone call to join Al Hirt, Paul Cacia was first trumpet for the Ray Anthony Orchestra, he immediately gave notice. The Al Hirt Big Band was based out of Al's New Orleans Bourbon street nightclub, leaving for road tours, on and off, concert dates and a television show. The arrangements were by Billy May, Sammy Nestico and Mike Barone, It was a young fiery band. He was one of the first ones hired and the first one to give notice after 6 months on the road, his production company demands back in Burbank, studio work, plus the birth of his first child called him home, the road years were now behind him and his solo career ahead of him. “'Jumbo' was truly a trumpet phenomenon, a one man trumpet section. He did things with a trumpet that just weren't on the horn, and it was my great privilege to say that I was his 1st trumpet player and his friend. I helped him form his dream band and we had a great time making great music together with some truly great musicians." “The late great Al Hirt will always have a place in trumpet history as one of the truly great trumpet masters who could play circles around just about anyone!" The Al Hirt Big Band played 6 nights a week at Al's New Orleans Bourbon Street nightclub. Our Man in New Orleans takes Hirt's small Dixieland ensemble and punches it up with a big band comprised entirely of brass. The arrangements are short, without a lot of room for the group to stretch out. Still, they manage to play some real Dixieland and the arrangements are quite effective. There's no way to do justice to Al Hirt's sound. It's bold and open, with astonishing technical finesse. https://news.allaboutjazz.com/al-hirt-our-man-in-new-orleans.php

Pessoal:  Trumpet--Al Hirt;  Bass--Lowell Miller;  Clarinet--Pee Wee Spitelera;  Conductor, Arranged By--Marty Paich;  Drums--Frank Hudec;  Piano--Ronnie Dupont;  Trombone--Jerry Hirt

Our Man In New Orleans

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Jackie Allen - Which ?

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 63:58
Size: 146,9 MB
Art: Front

(2:13)  1. Too hot for words
(4:22)  2. Day dream
(5:50)  3. Doodlin'
(5:36)  4. Lost in the stars
(4:11)  5. Dearly beloved
(4:10)  6. My romance
(5:14)  7. In you go
(4:36)  8. Left alone
(3:36)  9. I was a little too lonely
(3:30) 10. Which
(4:27) 11. Admit it
(4:49) 12. I'm just a woman
(3:16) 13. It's bad for me
(3:42) 14. The meaning of the blues
(4:21) 15. The last dance

Integration. Jackie Allen’s Which? is the second vocal release from Naxos Jazz. The budget label broke the ice with Gail Wynters’ 1998 release My Shining Hour (86027-2). Allen’s breathy sensuousness is a good label foil for Wynters’ earthy purring. Both vocalists hold the impeccable Bill Cunliffe on piano, Allen also having him as band leader, arranger, and associate producer. She employs Grammy-winning Ralph Jungheim as her executive producer. The Naxos Jazz stable continues to accumulate major jazz talent with appearances by Red Holloway playing his no-nonsense tenor and Gary Foster his cerebral alto. Differentiation. Jackie Allen’s voice is frankly alto, a reality that neatly works in her favor on the current collection of standards and originals. A snapshot of the cuts reveals a sexy, quirky “Too Hot For Words”, a smoky, smoldering “Doodlin’”, and an almost choral “Lost in the Stars”. Cole Porter’s “Which?” hosts a Red Holloway solo that showcases his 12-gauge blues sensibility and Roy McCurdy’s simply splendid march drumming. Allen’s own “Admit It” finds Foster waxing poetic is his own alto way. The torch of the disc is “I’m Just a Woman”, with lyrics and a deliver that would make NOW blanche, then blush (with a super Holloway R&B solo to boot). Never Let Down. Jackie Allen finds herself in the company of excellent musicians and her considerable talent profits from the Naxos Jazz approach which has framed her wounded yet playful alto range with a warm ornament analog sound (Just check out the bass duet on “The Meaning Of The Blues” and Bruce Paulson’s humid trombone on “The Last Dance”). Recommended. ~ C.Michael Bailey https://www.allaboutjazz.com/which-jackie-allen-review-by-c-michael-bailey.php

Personnel: Jackie Allen (vocals); Gary Foster (alto saxophone); Red Holloway (tenor saxophone); Bruce Paulson (trombone); Bill Cunliffe (piano); Jim Hughart (bass); Roy McCurdy (drums).

Which ?

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Kenny Dorham - Matador

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 38:22
Size: 88,2 MB
Art: Front

( 6:33)  1. El Matador
(11:35)  2. Melanie
( 5:01)  3. Smile
( 5:12)  4. Beautiful Love
( 4:47)  5. Prelude
( 5:12)  6. There Goes My Heart

Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackie McLean, Bobby Timmons, Teddy Smith, and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean's composition "Melody for Melonae," used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed "Melanie" and, if not better, this version at least rivals the take under McLean's leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be Bobby Timmons' most intense moment on record. One rarely has the opportunity to hear Timmons dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment (à la Bud Powell) only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making "Melanie" a treat for listeners who revel in emotional performances. Other highlights include the opener, "El Matador," a 5/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied Dorham/Timmons duet, "Prelude." A fantastic session by any standard. ~ Brandon Burke http://www.allmusic.com/album/matador-mw0000369703

Personnel: Kenny Dorham (trumpet); Jackie McLean (alto saxophone); Bobby Timmons, Walter Bishop (piano); Teddy Smith, Leroy Vinnegar (bass); J.C. Moses, Art Taylor (drums).

Matador

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Woody Herman & Lionel Hampton - Jazz Showcase

Styles: Clarinet And Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 72:16
Size: 174,9 MB
Art: Front

(6:02)  1. Body And Soul
(6:36)  2. Rose
(4:13)  3. Early Autumn
(7:20)  4. Caldonia
(6:09)  5. Mood Indigo
(5:25)  6. Mr. PC
(3:28)  7. I Wish You Love
(6:01)  8. It Don't Mean A Thing If It Ain't Got That Swing
(6:36)  9. Memories Of You
(8:45) 10. Old Man River
(6:20) 11. How High The Moon
(5:15) 12. Satin Doll

Woodrow Charles Herman (May 16, 1913 – October 29, 1987) was an American jazz clarinetist, alto saxophonist, singer, and big band leader. Leading various groups called "The Herd", Herman was one of the most popular bandleaders of the 1930s and 1940s. His bands often played music that was experimental for its time. He was a featured halftime performer for Super Bowl VII. Herman was born Woodrow Charles Thomas Herman in Milwaukee, Wisconsin, on May 16, 1913. His parents were Otto and Myrtle (Bartoszewicz) Herman. His mother was Polish. His father had a deep love for show business and this influenced Woody Herman at an early age. As a child he worked as a singer and tap-dancer in Vaudeville, then started to play the clarinet and saxophone by age 12. In 1931, he met Charlotte Neste, an aspiring actress; they married on September 27, 1936. Woody Herman joined the Tom Gerun band and his first recorded vocals were "Lonesome Me" and "My Heart's at Ease". Herman also performed with the Harry Sosnick orchestra, Gus Arnheim and Isham Jones. Isham Jones wrote many popular songs, including "It Had to Be You" and at some point was tiring of the demands of leading a band. Jones wanted to live off the residuals of his songs; Woody Herman saw the chance to lead his former band, and eventually acquired the remains of the orchestra after Jones' retirement. https://en.wikipedia.org/wiki/Woody_Herman

Jazz Showcase

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David Benoit & Marc Antoine - So Nice

Styles: Piano And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 40:44
Size: 93,7 MB
Art: Front

(4:23)  1. French Café
(4:50)  2. Penthouse In Copacabana
(3:27)  3. Só Danço Samba
(5:04)  4. Caminando
(3:28)  5. A Cafe Au Lait Bentley
(4:26)  6. All Said And Done
(3:22)  7. Rio Deluxe
(3:39)  8. Puma Trail
(3:35)  9. So Nice
(4:25) 10. Algarve

One of the more popular performers in the idiom somewhat inaccurately called "contemporary jazz," David Benoit has mostly performed light melodic background music, what critic Alex Henderson has dubbed "new age with a beat." Benoit has done a few fine jazz projects (including a tribute to Bill Evans and a collaboration with Emily Remler) but most of his output for GRP has clearly been aimed at the charts. He studied composition and piano at El Camino College and, in 1975, played on the soundtrack of the film Nashville. After recording with Alphonse Mouzon and accompanying singer Gloria Lynne, he was signed to the AVI label when he was 24, recording sets that paved the way for his later output. In 1986, Benoit signed as a solo artist with GRP, a relationship that would last until 2003. 

Albums like 1989's Waiting for Spring and 1999's Professional Dreamer showcase his smooth, lyrical style, while projects like his 2000 tribute to Vince Guaraldi's Peanuts scores, Here's to You, Charlie Brown!: 50 Great Years!, demonstrate where his own tastes lie. A decade after their first joint venture, Benoit and Russ Freeman collaborated on Benoit/Freeman Project 2, released by the Concord-associated label Peak in 2004. For 2005's Orchestral Works he was joined by the Czech National Symphony Orchestra and members of the Asia America Symphony Orchestra. He released two studio albums including Full Circle in 2006 and Standards, which appeared later that same year. In 2008, Benoit paid tribute to some of his musical idols with the album Heroes. The album saw him covering songs by Elton John, the Beatles, Dave Brubeck, and others. Two years later, Benoit delivered the Clark Germain-produced electronica-inflected album Earthglow, and in 2012, he returned with Conversation, which featured the classical trio-meets-jazz-trio title track taken from his "Music for Two Trios" suite.  In 2014, Benoit contributed to former Ambrosia guitarist David Pack's Napa Crossroads set with Alan Parsons, Ray Manzarek, Larry Carlton, Mindi Abair, and others.  Benoit shifted focus on his next outing. Deciding to record an all-originals vocal album, he collaborated with lyricists Lorraine Feather, Mark Winkler, and Spencer Day. Released in the June of 2015, 2 in Love featured Grammy-nominated jazz vocalist Jane Monheit. She was also featured heavily on Believe, a Christmas recording that appeared just four months later. ~ Scott Yanow http://www.allmusic.com/artist/david-benoit-mn0000635760/biography

Marc Antoine was born in Paris, France on 28 May 1963. His parents bought him his first guitar when he was 11 years old and he developed a passion for the instrument after watching a friend play. By the age of 13, his father was impressed by his growing skill and sent Antoine to Conservatoire de Paris where he would receive classical lessons. While learning his craft, he drew inspiration from his mentors Andrés Segovia and John Williams. Antoine came to a crossroads at the age of 17 at which he had to choose between his hobby of guitar and his profession of competitive swimming. As he'd won several awards through his guitar performances, he chose to remain a guitarist and expand his influences to include local favorites in jazz, rock, Afro, and pop. Marc also played in local bands in Brittany, France during this time. https://en.wikipedia.org/wiki/Marc_Antoine_(musician)

So Nice

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Lou Donaldson - Sassy Soul Strut

Bitrate: MP3@320K/s
Time: 39:20
Size: 90.0 MB
Styles: Soul-Jazz
Year: 1973/2013
Art: Front

[7:01] 1. Sanford And Son Theme
[3:50] 2. Pillow Talk
[4:36] 3. Sassy Soul Strut
[2:33] 4. Good Morning Heartache
[9:07] 5. City, Country, City
[5:19] 6. This Is Happiness
[6:51] 7. Inner Space

Sassy Soul Strut pairs Lou Donaldson with arranger George Butler to create a smooth, unabashedly commercial session some distance removed from the saxophonist's classic soul-jazz efforts. Emphasizing electric instruments and radio-friendly rhythms, the album nevertheless plays to Donaldson's strengths, focusing more on mood and texture and less on funk. Opening with a gutbucket rendition of Quincy Jones immortal "The Streetbeater" (far better known as the theme to television's Sanford and Son), Sassy Soul Strut quickly settles comfortably into a light, accessible mode too lively to dismiss as smooth jazz but too mellow to pass as anything else. Butler's arrangements haven't dated particularly well, but the record's too innocuous and good-natured to qualify as an outright failure. It's simply forgettable, nothing more and nothing less. ~Jason Ankeny

Sassy Soul Strut

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Marian McPartland - Interplay

Bitrate: MP3@320K/s

Time: 44:46

Size: 102.5 MB

Styles: Piano jazz

Year: 1969/2015

Art: Front

[4:30] 1. Twilight World

[6:00] 2. Indian Summer

[5:44] 3. Close Your Eyes

[6:12] 4. Here's That Rainy Day

[4:52] 5. Milestones

[4:28] 6. New Orleans

[4:45] 7. By The Time I Get To Phoenix

[4:40] 8. Illusion

[3:30] 9. Things Ain't What They Used To

Marian McPartland rarely recorded with just a bassist, but this duet with little-known bassist Linc Milliman (a fine player according to McPartland who preferred not to venture far from his home) was a part of the pianist's own Halcyon catalog. Among the highlights are McPartland's superb solo renditions of her ballad "Twilight World" and the lesser known (but equally interesting) "Illusion," a lively duet of "Close Your Eyes," a dreamy "Here's That Rainy Day," and a rare venture into Miles Davis' memorable modal piece "Milestones." She tries valiantly to make something out of the then-current pop song "By the Time I Get to Phoenix" (a huge hit for country singer Glen Campbell), but the tune is clearly not in league with the remainder of this set. This seems to be a live recording that has been tightly edited to remove applause at the end of each piece. Recorded in the late 1960s or early '70s, this hard to find release was also briefly available as a CD reissue for a few years. ~Ken Dryden

Interplay

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Jermaine Jackson - I Wish You L.O.V.E.

Bitrate: MP3@320K/s
Time: 25:48
Size: 59.1 MB
Styles: Pop-Jazz
Year: 2012
Art: Front

[2:12] 1. I've Got The World On A String
[3:37] 2. I've Got You Under My Skin
[2:56] 3. I Wish You Love
[2:45] 4. Autumn Leaves
[3:21] 5. Can't Take My Eyes Off You
[2:32] 6. But Not For Me
[3:47] 7. My Funny Valentine
[1:41] 8. Almost Like Being In Love
[2:52] 9. All The Things You Are

Recorded in 2012, 'I Wish You LOVE' is the album by Jermaine JACKSON. In this album, this legendary artist from the Jackson 5, sings Jazz Standards such as 'I've got the world on a string', 'I've got you under my skin', 'I wish you love', 'All the things you are', 'My Funny Valentine', 'Can't Take my Eyes Off You'..etc. It also includes the duet of Autumn Leaves with French Opera singer baritone David Serero. Artistic Direction, Arrangements and Production of this album has been done by David Serero.

Possessing one of the most elegant voices in the annals of popular music, Rock & Roll Hall of Fame alumnus Jermaine Jackson's imprint on the musical landscape is so indelible that an optimum barometer has been set for future generations of performers. From a youngster in Gary, Indiana, to an embraceable solo artist, Jermaine's contributions to the pop music spectrum are incalculable. With bursts of eclectic harmonic fusion, Jermaine's undulating guitar baselines crescendo into rhythmic explosions(!), taking international audiences by storm. His superlative studio recordings, action videos and dynamic stage routines are emblematic of his inestimable contribution to the world of entertainment. And his insightful business aptitude and undying love for the music that has shaped generations account for the enormity of his commercial success.

I Wish You L.O.V.E.

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Paula Cole - Ithaca

Bitrate: MP3@320K/s
Time: 48:15
Size: 110.4 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[6:03] 1. The Hard Way
[5:02] 2. Waiting On A Miracle
[4:00] 3. Music In Me
[4:49] 4. Elegy
[4:54] 5. Come On Inside
[2:51] 6. P.R.E.N.U.P
[4:35] 7. Violet Eyes
[4:25] 8. Somethin' I've Gotta Say
[8:09] 9. Sex
[3:22] 10. 2 Lifetimes

On her fifth album Ithaca, singer and songwriter Paula Cole takes listeners on an intensely emotional, yet uplifting journey through divorce ("The Hard Way," "P.R.E.N.U.P") and the struggle to recover one's identity ("Elegy," "Waiting on a Miracle") before allowing herself to revel in the healing, redemptive power of new love ("Violet Eyes," "Come On Inside," "Sex", "2 Lifetimes"). Along the way, she acknowledges being torn between work and her child ("Somethin' I've Gotta Say"), and ultimately celebrates having music to get her through it all ("Music In Me").

"My albums are Polaroid snapshots of my life," says Cole, whose last album, Courage, was released in 2007. "The writing is the hard part because my process is highly personal and autobiographical. One of my biggest musical heroes is John Lennon because he was so brutally honest. I love the songs he wrote after he left The Beatles. They are so outrageous in their courage. This new album is just me processing things."

Ithaca is a welcome return by one of pop's most compelling vocalists, who has enthralled audiences with her soaring, agile soprano. Born the daughter of musicians, Cole studied jazz singing and improvisation at Boston's Berklee College of Music before attracting rapt attention as a featured vocalist on Peter Gabriel's 1993-1994 Secret World Live tour. Cole released her debut album, Harbinger, in 1994, followed by 1996's self-produced This Fire, which spawned the two smash hits "Where Have All The Cowboys Gone?" and "I Don't Want to Wait." In 1997, Cole was nominated for seven Grammy Awards, including "Producer of the Year" and "Album of the Year," and took home the award for "Best New Artist." In 1999, Cole released her third album, Amen, then decided to take some time off following the birth of her daughter Sky in 2001.

"I needed to get off the giant hamster wheel," Cole says of her music career. "I wanted to find some other meaning to my life and it seemed impossible to combine motherhood with the music business. It was like being at a spiritual stop sign in the road. That's what inspired 'Somethin' I've Gotta Say,' one of the older songs on the album. I thought I was done with the music career after having Sky."

Several years later, Cole was lured back to record-making by a friend, Blood, Sweat & Tears' drummer Bobby Colomby, who produced her intimate, jazz-influenced collection Courage, which she released in 2007 while going through a difficult divorce. After the split was finalized in 2008, Cole moved back to her hometown of Rockport, Massachusetts the inspiration behind her new album's title.

Ithaca

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Milt Jackson - In A New Setting

Bitrate: MP3@320K/s
Time: 39:50
Size: 91.2 MB
Styles: Bop, Vibraphone jazz
Year: 1964/1999
Art: Front

[3:37] 1. Sonny's Blues
[3:32] 2. I'm Gonna Laugh You Right Out Of My Life
[3:17] 3. Spanish Fly
[3:25] 4. No Moon At All
[4:54] 5. Slow Death
[2:47] 6. Clay's Blues
[2:45] 7. Lazy Melody
[4:11] 8. Project S
[2:40] 9. Ev'ry Time We Say Goodbye
[2:57] 10. That's In
[2:33] 11. Ineffable
[3:07] 12. The Other Half

Bass – Bob ; Drums – Connie Kay; Piano – McCoy Tyner; Tenor Saxophone – Jimmy Heath; Vibraphone – Milt Jackson.

Milt Jackson made a number of solo albums during his long tenure with the Modern Jazz Quartet, but this long unavailable release, finally reissued on CD, is one of his best as a leader. With young pianist McCoy Tyner and tenor saxophonist Jimmy Heath, Jackson puts together a great session, kicking off with his hard driving "Sonny's Blues." The leader's percussive but swinging style, plus the potent solos by Tyner and Heath, are all appealing. The only reservation about this CD is the deteriorated condition of the master tape from which it was made; it is rather noticeable on several tracks, though finding a mint copy of the original record is not a viable option for most collectors. Pick this one up in a heartbeat. ~Ken Dryden

In A New Setting

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Brad Mehldau - Anything Goes

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 63:04
Size: 144,7 MB
Art: Front

(9:47)  1. Get happy
(5:03)  2. Dreamsville
(7:08)  3. Anything goes
(5:01)  4. Tres palabras
(5:24)  5. Skippy
(6:43)  6. Nearness of you
(5:21)  7. Still crazy after all these ye
(6:55)  8. Everything in its right place
(6:48)  9. Smile
(4:49) 10. I've grown accustomed to her face

Two years after Largo , pianist Brad Mehldau returns to more familiar territory with Anything Goes , his first studio trio recording in four years. Familiar it may be as he reconvenes his empathetic relationship with bassist Larry Grenadier and drummer Jorge Rossy but safe it is not. On a programme surprisingly devoid of original material, Mehldau still manages to take a number of worn chestnuts and reinvigorate them by liberally reworking their structures. "Get Happy" is played in 7/4, and while the melody is discernable, that's the only thing that is recognizable. Mehldau and the trio use it as a starting point for individual and collective improvisations that set the tone for the rest of the album. Mehldau has never sounded better and for the first time there is the sense that, while his technical skills are clearly evident, he seems more relaxed, focusing with complete intent on the music and very little on his virtuoso abilities. Group interplay has always been key for this group; Grenadier and Rossy have always been far more than mere accompanists, but as the group visits Radiohead territory once again for "Everything In Its Right Place," there is a sense of growth in their ability to communicate. While the tune is little more than a vamp, they manage to create subtle rhythmic shifts, implied pulses and dynamic variations that keep it completely engrossing for nearly seven minutes. The general philosophy seems to be the more familiar the tune, the more generous the reinvention. "Anything Goes" is reworked into a 5/4 signature, with the harmonic re-imagining so great that the you have to work to find the structure of the original song. And it is Grenadier who introduces the theme of "Smile" over a 6/8 piano motif and percussion so light that Rossy almost seems to be breathing on his kit. On the other hand, "Dreamsville" and the light bossa of "Tres Palabras" are played fairly straight, as Grenadier and Rossy come the closest to being a traditional rhythm section. Paul Simon's "Still Crazy After All These Years" is also played fairly straight up, at least at first. Mehldau manages to capture the essence of the tune while, at the same time, eschewing the more overtly gospel changes of the verse, then using the bridge as a jumping-off point for more extended group improvisation. Together for over eight years, Mehldau and his trio stand as one of the longest-lasting groups in jazz today, and they just keep getting better; they have long left the ranks of the imitative, and developed a personal vernacular. But with Anything Goes , they take things to a new level of interplay and invention; and while it is hard to top the trio's outstanding live recordings, this record definitely stands as their best studio effort. ~ John Kelman https://www.allaboutjazz.com/anything-goes-warner-bros-review-by-john-kelman.php

Personnel: Brad Mehldau (piano), Larry Grenadier (bass), Jorge Rossy (drums)

Anything Goes

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Natasha Miller - I Had A Feelin´

Styles: Vocal And Violin Jazz
Year: 2004
File: MP3@320K/s
Time: 51:28
Size: 118,3 MB
Art: Front


(4:58)  1. I Had A Feelin´
(5:12)  2. My Magic Tower
(6:10)  3. Unchain My Heart
(5:45)  4. Everlastin  Blues
(3:59)  5. I Return To The Sea
(4:19)  6. Monica
(3:01)  7. Things Are Breakin ike Rocks
(3:40)  8. Big Storyteller
(3:44)  9. A Real Swingin Affair
(5:31) 10. Madame Heartache
(5:05) 11. What Diference Does It Make

For her third album, Bay Area singer Natasha Miller devotes the eleven tracks to the songs of Bobby Sharp. The songwriter achieved his most notable success with "Unchain My Heart," popularized by Ray Charles in 1961 and later by Joe Cocker. Sharp was a New York songwriter who composed from 1946 through 1978. After having recovered from a drug addiction problem, Sharp relocated to San Francisco where he spent eight years as a drug counselor. Upon hearing Miller sing, Sharp contacted the vocalist, and I Had A Feelin' is the result of their labors. The album is structured to showcase ballad performances on the first six tracks and provides the remainding songs as mid- and up-tempo compositions. Miller's delivery on the first five tunes is that of a smoky jazz cafe in an afterhours performance reminiscent of the cool 1950s jazz vocal genre. Included in this section is the aforementioned "Unchain My Heart," which is forever associated with the rhythmic Ray Charles version. 

Natasha Miller proves that the melody and lyrics are perfectly adaptable to the change in tempo. In other words, if you suspend any preconceived notions about how you feel the song should sound, you can discover a new love ballad. These other opening tracks, "My Magic Tower," "Everlastin' Blues" (featuring a funky Hammond accompanyment), and "I Return to the Sea," plus the title tune, are all well written. Songwriter Sharp makes a vocal appearance on "Monica." The pace picks up with the humorous "Things Are Breakin' Like Rocks," followed by "Big Storyteller" and "A Real Swingin' Affair," which insert an eleven minute swinging segment. Miller closes with two more ballads that feature a string quartet on "Madame Heartache" and the poignant lyrics of "What Diff'rence Does It Make." In fact, the label (Poignant) strikes me as being an aptly named vehicle for this singer. ~ Michael P.Gladstone https://www.allaboutjazz.com/i-had-a-feelin-natasha-miller-poignant-records-review-by-michael-p-gladstone.php

Personnel: Natasha Miller,vocals,violin;  Michael Bluestone, piano,Hammond organ;  Bill Bell,piano on "Madame Heartache";  Jon Evans,bass;  Tim Bulkley,drums;  Jeff Lewis,flugelhorn/trumpet;  Rob Roth, sax;  Liz Prior Runnicles,viola;  Emil Miland,cello;  Bobby Sharp,vocal on "Monica".

I Had A Feelin´

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Bob James & Keiko Matsui - Altair & Vega

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 47:20
Size: 108,6 MB
Art: Front

( 6:48)  1. Altair & Vega
( 6:42)  2. Frozen Lake
( 6:52)  3. Divertimento 'The Professor & The Student'
( 6:00)  4. Midnight Stone
( 4:24)  5. Invisible Wing
(13:11)  6. Forever Variations
( 3:20)  7. Chorale From Cantata BWV 147

In a culture inundated with movies that go unseen, books that go unread and music that goes unheard, it's easy for worthy art to slip through the cracks. That was the sad and undeserved fate of the 2011 Bob James and Keiko Matsui four-hand piano collaboration, Altair & Vega. Solo recordings are a standard for jazz pianists, and James' and Matsui's training and love of classical music are familiar to their fans, but two musicians playing one piano at the same time is something a little bit different. Altair and Vega are two stars that pass each other once a year, but it took 11 years for James and Matsui to link up and fully realize what began with "Ever After," their first collaboration with piano for four hands on Matsui's Whisper From the Mirror (Narada, 2000). A year later, Matsui joined James for two tracks on his underrated Dancing On the Water (Warner Brothers, 2001). After a decade, the two mainstays of smooth jazz reunited for a record highly unlikely to receive much airplay by any smooth jazz radio station. The interplay between the two is joyful and at times dazzling. James' "Divertimento," with its apt subtitle, not only allows "The Professor and the Student" to show off their considerable chops, it's playful fun. Things get a bit more serious on Matsui's "Frozen Lake," and the grandiose "The Forever Variations" is stately without being stiff or overly solemn. James and Matsui are not trying to set the music world on its ear as much as they are just coming together to jam. To the extent this is a jazz record, the playing is never less than impressive, as the pianists' pairing inspires them to greater heights than those they occasionally settle for. Whether Altair & Vega qualifies as light classical music or granola-free New Age is a subjective judgment. What is beyond question is how much effort has to go into the four-hands/one piano approach. This is harder than it looks folks, and one need go no further than the companion DVD for proof a live concert filmed at Manchester Craftsmen's Guild in Pittsburgh last year. So why didn't Altair & Vega hit? Perhaps it not being remotely smooth jazz confused the pianists' usual audience. Perhaps the surnames of James and Matsui didn't catch the interest of more traditional audiences who associate the duo with smooth jazz. Either way, it's not too late for both audiences to tune into this terrific collaboration. ~ Jeff Winbush https://www.allaboutjazz.com/altair-and-vega-bob-james-e-oneentertainment-review-by-jeff-winbush.php

Personnel: Bob James: piano (lower part), Yamaha AvantGrand digital piano (2); Keiko Matsui: piano (upper part).

Altair & Vega

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Tito Puente & Woody Herman - Latin Flight

Styles: Latin Jazz
Year: 1999
File: MP3@320K/s
Time: 41:25
Size: 99,6 MB
Art: Front

(2:03)  1. Latin Flight
(3:03)  2. New Cha Cha
(2:39)  3. Mambo Herd
(2:39)  4. Tito Meets Woody
(3:02)  5. Cha Cha Chick
(3:10)  6. Blue Gardenia
(4:05)  7. Prelude A La Cha Cha
(4:19)  8. It's Coolin' Time
(2:33)  9. Black Orchids
(3:09) 10. Original No. 2
(4:02) 11. Sinbad The Sailor
(3:19) 12. Mambo Bambo
(3:16) 13. Fire Island

By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz. But more than that, Puente managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos, and saxophone. His appeal continues to cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of "Oye Como Va" and "Para Los Rumberos" in 1970-1971, and cameo appearances on The Cosby Show in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere. Rooted in Spanish Harlem, of Puerto Rican descent, Puente originally intended to become a dancer but those ambitions were scotched by a torn ankle tendon suffered in an accident. At age 13, he began working in Ramon Olivero's big band as a drummer, and later he studied composing, orchestration, and piano at Juilliard and the the New York School of Music. More importantly, he played with and absorbed the influence of Machito, who was successfully fusing Latin rhythms with progressive jazz. 

Forming the nine-piece Piccadilly Boys in 1947 and then expanding it to a full orchestra two years later, Puente recorded for Seeco, Tico, and eventually RCA Victor, helping to fuel the mambo craze that gave him the unofficial and ultimately lifelong  title "King of the Mambo," or just "El Rey." Puente also helped popularize the cha-cha during the 1950s, and he was the only non-Cuban who was invited to a government-sponsored "50 Years of Cuban Music" celebration in Cuba in 1952. Among the major-league congueros who played with the Puente band in the '50s were Mongo Santamaria, Willie Bobo, Johnny Pacheco, and Ray Barretto, which resulted in some explosive percussion shootouts. Not one to paint himself into a tight Latin music corner, Puente's range extended to big-band jazz (Puente Goes Jazz), and in the '60s, bossa nova tunes, Broadway hits, boogaloos, and pop music, although in later years he tended to stick with older Latin jazz styles that became popularly known as salsa. In 1982, he started reeling off a string of several Latin jazz albums with octets or big bands for Concord Picante that gave him greater exposure and respect in the jazz world than he ever had. An indefatigable visitor to the recording studios, Puente recorded his 100th album, The Mambo King, in 1991 amid much ceremony and affection (an all-star Latin music concert at Los Angeles' Universal Amphitheatre in March 1992 commemorated the milestone), and he kept adding more titles to the tally throughout the '90s. He also appeared as a guest on innumerable albums over the years, and such jazz stars as Phil Woods, George Shearing, James Moody, Dave Valentin, and Terry Gibbs played on Puente's own later albums. Just months after accepting his fifth Grammy award, he died on June 1, 2000. Several months later, Puente was recognized at the first annual Latin Grammy Awards, winning for Best Traditional Tropical Perfomance for Mambo Birdland. ~ Richard S.Ginell http://www.allmusic.com/artist/tito-puente-mn0000607283/biography

Latin Flight

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Cozy Cole - A Cozy Conception Of Carmen

Styles: Jazz, Swing
Year: 1961
File: MP3@320K/s
Time: 31:37
Size: 72,9 MB
Art: Front

(3:12)  1. Prelude
(3:21)  2. Chorus Of The Street Boys
(2:46)  3. Habanera
(3:06)  4. Seguidilla
(2:37)  5. Entracte (1 & 2)
(3:12)  6. Gypsy Song
(3:24)  7. Castanet Dance
(3:25)  8. Flower Song
(3:26)  9. Sextet
(3:06) 10. Entracte (3 & 4)

Cozy Cole has been among the most respected drummers ever since the 1930s, when his work with Stuff Smith and Cab Calloway gained wide notice. Many drummers keep the beat, but the mark of the extraordinary is to add the alchemy of Leadership. With Cozy there was no flailing of arms in vain tries for exhibitionism without reason; no overbearing pushing when the drums should be carrying; no noise for noise's sake. His solos have logic and direction. Cozy Cole was without a doubt one of the most musical drummers there ever was. Bizet Swings! That infectious Cozy Cole magic says that with every beat, and it is the synthesis of the entire recording you now hold. ~ http://www.freshsoundrecords.com/cozy-cole-albums/4479-a-cozy-conception-of-carmen.html

Personnel:  Cozy Cole (d), Bernie Privin (flh, tp), George Holt (tp), Bob Hammer (p, glockenspiel, org), Al Klink, John Hafer (ts), Jerome Richardson (bs, b-cl, cl, piccolo), Milt Hinton, Jack Lesberg (b), Phil Kraus, Douglas Allen (perc)

A Cozy Conception Of Carmen

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