Rachid Taha - The Definitive Collection

Styles: World

Year: 2007

File: MP3@320K/s

Time: 78:55

Size: 182,0 MB

Art: Front

(6:17)  1. Ya Rayah

(4:36)  2. Rock El Casbah

(5:13)  3. Nokta

(5:16)  4. Voila Voila

(7:28)  5. Habina

(4:50)  6. Kelma

(7:13)  7. Bent Sahra

(3:40)  8. Douce France

(4:21)  9. Indie

(4:04) 10. Jungle Fiction

(5:58) 11. Ida

(4:32) 12. Hey Anta

(4:26) 13. Barbes

(5:48) 14. Barra Barra

(5:05) 15. Menfi

The Definitive Collection is a compilation album by raï singer Rachid Taha. It was released by Wrasse Records in 2007. The album's initial release was limited to 2000 copies, which were accompanied by a DVD that documented Taha's return to Algeria. The album was released in the U.S. in 2008 under the title Rock el Casbah: The Best of Rachid Taha. Video clips have been made for "Barbès" (1991),"Ya Rayah"(1997),"Ida"(1998), "Hey Anta" (2000), & "Voilà, Voilà" (2012). https://en.wikipedia.org/wiki/The_Definitive_Collection_(Rachid_Taha_album)

The Definitive Collection

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Janet Seidel - The Art Of Lounge, Vol. 1

Size: 149,6 MB
Time: 64:10
File: MP3 @ 320K/s
Released: 1997
Styles: Jazz Vocals
Art: Front

01. The Very Thought Of You (5:43)
02. To Say Goodbye (3:32)
03. Comes Love (4:11)
04. I've Got A Crush On You (4:51)
05. I Get Lost In His Arms (6:23)
06. At Sundown (4:35)
07. The Sweetest Sounds (4:47)
08. Fools Rush In (4:29)
09. Gee Baby (3:27)
10. Mas Que Nada (3:10)
11. Love For Sale (5:28)
12. I Had The Craziest Dream (5:38)
13. Don't Let The Sun Catch You Crying (4:52)
14. Black Is The Colour (2:57)

Performing since she was 17, Janet Seidel is now one of Australia's more prominent vocalists. She records exclusively for the La Brava label. Despite the title of her latest effort, this is by no means an album of easy listening, lounge type music. Even though there's the presence of a heavy cadre of strings on several tracks, they are offset by the presence of musicians steeped in the jazz tradition, such as Tom Baker on tenor sax. Also having a jazz flavor, "I've Got a Crush on You" is done in a small-group setting; Paul Williams provides a mellow background, and his clarinet contrasts nicely with Seidel's simple, straightforward rendition of this popular classic. Even on those tunes where the strings are present, there is still a feel for jazz. A slow-paced arrangement of "The Sweetest Sounds" mixes the strings with Kevin Hunt's melodic piano playing. With a voice that combines all the good features of Blossom Dearie with some Peggy Lee and Doris Day stirred in for seasoning, Seidel is at home in a number of styles. She can lull you with a sentimental ballad and then get naively erotic with a blues. She gets together with Col Nolan's Hammond B3 organ for a version of "Gee Baby, Ain't I Good to You" that blends innocence with allurement. The Latin beat gets a nod with "Mas Que Nada," and a touch of soulful regret is heard in "Don't Let the Sun Catch You Crying" behind Tom Baker's wailing tenor sax. There's a come hither quality in her interpretation of "Love for Sale," featuring Baker on cornet. Seidel takes on a poetic bearing on "Fools Rush In" which, as much as any track, reveals her ability to convey the essence of the story embedded in the lyrics she sings. Irrespective of genre, all the tunes are delivered in a delightful, ear-catching, engaging manner. Featuring Australian musicians of the highest caliber, this CD of more than 60 minutes of varied vocalizing is highly recommended. ~ by Dave Nathan

The Art Of Lounge, Vol.1

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Patricia Grinfeld Organ Trio - Capitulo Uno

Size: 111,6 MB
Time: 47:59
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Capítulo Uno Valle Hemoso (4:55)
02. A World That Swings (7:11)
03. Criminal (4:51)
04. Indian (7:44)
05. My Own Montgomerylike Song (6:15)
06. Antigua Y Barbuda (6:09)
07. Solo Tune (3:19)
08. Indian (Alternate Version) (7:32)

Grabado en Buenos Aires en 2016, este es el disco debut como líder de la guitarrista y compositora de Jazz argentina Patricia Grinfeld.
Incluye 4 composiciones originales y 3 versiones de canciones del Great American Songbook casi nada transitadas, una de ellas, es una versión en formato solo guitar del clásico soul "Killing me softly with his song" .
Patricia Grinfeld Organ Trio se completa con Alan Zimmerman en órgano y Diego Lutteral en batería.

Capitulo Uno

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Lucy Reed - This Is Lucy Reed: Complete Recordings 1950-1957

Size: 125,3 MB+140,6
Time: 53:51+60:27
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Blues Vocals
Art: Front

CD 1:
01. There's A Boat Dat's Leavin' Soon For New York (2:29)
02. Fools Fall In Love (3:24)
03. Baltimore Oriole (4:55)
04. Out Of This World (3:48)
05. You May Not Love Me (3:46)
06. No Moon At All (1:54)
07. Inchworm (2:53)
08. Tabby The Cat (1:54)
09. That's How I Love The Blues (3:24)
10. My Time Of Day (2:37)
11. My Love Is A Wanderer (2:49)
12. Little Girl Blue (3:43)
13. Because We're Kids (2:51)
14. It's All Right With Me (4:25)
15. It's A Lazy Afternoon (3:40)
16. Flying Down To Rio (2:14)
17. Nothing At All (2:53)

CD 2:
01. Born To Blow The Blues (4:41)
02. This Is New (3:58)
03. In The Wee Small Hours (Of The Morning) (4:20)
04. There He Goes (2:50)
05. Love For Sale (4:27)
06. A Trout, No Doubt (2:39)
07. No Moon At All (2:14)
08. Lucky To Be Me (2:28)
09. St. Louis Blues (3:25)
10. Easy Come, Easy Go (4:55)
11. Little Boy Blue (2:55)
12. You Don't Know What Love Is (4:04)
13. You've Got A Date With The Blues (3:09)
14. My Flaming Heart (3:01)
15. Please Mr. Right Man (3:02)
16. Tantalazing Melody (2:52)
17. A Night Is Dark (2:36)
18. Au Revoir (2:43)

Personnel:
Lucy Reed (vcl), Art Farmer (tp), Jimmy Cleveland (tb), Tommy Mitchell (b-tb), Romeo Penque (fl, Engh), Sol Schlinger (b-cl, bs), Bill Evans, Dick Marx, Don Abney, Gil Evans, Eddie Higgins (p), Howard Collins, John Gray (g), Bob Carter, Johnny Frigo, Bill Pemberton (b), Sol Gubin, George Russell (d), Harry Lookofsky (vln), Jack English (arr).

Lucy (Lucille) Reed (1921-1998) began her singing career with Woody Herman in 1949. Later she joined Charlie Ventura’s big band and did some radio and TV work in Chicago. In 1951 she was chosen to represent Chicago in the Miss Television contest—she was regarded as a fine prospect by bookers and record people as the beautiful girl who had charmed listeners at the Chicago Streamliner and other local clubs during the early Fifties.

Her basic vocal quality was never strikingly full-ranged or tonally opulent, but her taste and musicianship were of such imaginative flexibility that she surpassed a many other nightclub singers more generously gifted by nature. Her skillful phrasing, based on her tender care for lyrics and her subtle beat, made her a singer of quiet distinction.

This set is valuable in many ways, mainly thanks to Lucy Reed’s ungimmicky, genuinely emotional singing, but also to the sympathetic backing of groups led by such jazz luminaries as Bill Evans, Dick Marx, George Russell, Gil Evans, and Eddie Higgins.

This is a collection of out-of-the-way melodies, done with distinction, fire and individuality by a singer who may have possessed too much innate “feel” for lyrics and honesty in delivery ever to have had a hit record, but who nevertheless won many enthusiastic listeners with these albums.

This Is Lucy Reed CD 1
This Is Lucy Reed CD 2

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Louis Armstrong & Duke Ellington - The Great Summit (Bonus Tracks)

Size: 176,3 MB
Time: 75:30
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz, Swing, Vocals
Art: Front

01. Duke's Place (5:04)
02. I'm Just A Lucky So And So (3:09)
03. Cottontail (3:43)
04. Mood Indigo (3:57)
05. Do Nothin' Till You Hear From Me (2:35)
06. The Beautiful American (3:06)
07. Black And Tan Fantasy (4:00)
08. Drop Me Off In Harlem (3:50)
09. The Mooche (3:38)
10. In A Mellow Tone (3:48)
11. It Don't Mean A Thing (If It Ain't Got That Swing) (3:56)
12. Solitude (4:52)
13. Don't Get Around Much Anymore (3:29)
14. I'm Beginning To See The Light (3:35)
15. Just Squeeze Me (3:56)
16. I Got It Bad (And That Ain't Good) (5:32)
17. Azalea (5:05)
18. Duke's Place (Live) (Bonus Track) (2:20)
19. In A Mellow Tone (Live) (Bonus Track) (3:21)
20. Nobody Knows The Trouble I've Seen (Live) (Bonus Track) (2:25)

Personnel:
Louis Armstrong (vcl, tp), Duke Ellington (p), Trummy Young (tb), Barney Bigard (cl), Mort Herbert (b), Danny Barcelona (d)

This release contains the complete master takes from the only full studio session ever made by Louis Armstrong and Duke Ellington together. The date was originally divided onto two albums: 'Together For The First Time' and 'The Great Reunion of Louis Armstrong and Duke Ellington'.

As a bonus a true rarity that appears on CD here for the first time ever: Louis and Dukes last preserved appearance together, promoting their album on the Ed Sullivan TV Show, as well as an additional song by Louis alone which completes all existing music from that program.

The Great Summit

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Nicole Johanntgen - Henry

Size: 100,7 MB
Time: 37:15
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: New Orleans Jazz
Art: Front

01. Henry (5:57)
02. Oh Yes My Friend (4:22)
03. Nola (5:07)
04. Slowly (6:41)
05. The Kids From New Orleans (6:44)
06. They Missed Love (5:28)
07. Take The Steam Train (2:55)

Still only in her mid-thirties, Zurich-based German alto saxophonist/composer Nicole Johänntgen has been performing and tirelessly exploring music for over twenty years. With half a dozen recordings as leader under her belt, Johänntgen turns to New Orleans for inspiration on Henry. Named after her father, who used to play trombone in lieu of an early morning alarm clock for the young Johänntgen, the songs were written during a six-month sojourn in New York and recorded in the Crescent City. The Big Apple's energy transposes itself on the traditional Nawlins template, resulting in a vibrant and spirited set of originals.

It all begins conventionally enough on the title track, with drummer Paul Thibodeaux's infectious second line rhythms, Steven Glenn's pulsating sousaphone grooves and melodic unison lines between Johänntgen and trombonist Jon Ramm forging an upbeat, mellifluous path. The group soon takes an abrupt left turn, however, with saxophone and trombone peeling this way and that in free flight, spurred by Thibodeaux's looser dynamics, while Glenn plays the anchor role.

Ramm and Johänntgen dovetail beautifully on "Oh Yes My Friend," a slow-churning dirge laced with the blues that follows a course as sure as the Mississippi. The contrast between New Orleans parade rhythms—mostly embedded in Glenn's sousaphone pulse—and a more contemporary rhythmic compass underpins the lively "Nola," which will appeal to fans of Arthur Blythe's Night Song (Clarity Records, 1997). Mantra-like motifs and oscillating rhythmic patterns dictate "Slowly," a slow-burner of almost hymnal origin that increases in intensity while maintaining a constant tempo.

Sousaphone and drums star on "The Kids from New Orleans"; this breezy, danceable celebration morphs briefly into a lament before Thibodeaux reactivates the party, as trombone and saxophone trade back and forth with passionate intent. Greater introspection colors "They Missed Love," an impressionistic lament where stuttering rhythms and gently wailing melodies—framed by a sombre head—are the blues by another name. "Take the Steam Train," a lively vignette that fades a little too quickly, sees the quartet gather collective steam before pulling the plug abruptly, just when you'd love to hear it all kicking off. That it leaves you wanting more is a decent summation of the CD as a whole.

It's no small feat that Johänntgen's elegant compositions will likely satisfy traditionalists and modernists alike. Steeped in Louisiana traditions, her roots-based music nevertheless filters more contemporary influences to engaging effect. Whether immersed in meditative blues vein or whether stoking the party fires, there's intensity and emotional weight in the quartet's every step.

A vibrant, satisfying effort from Johänntgen that subtly reimagines New Orleans tradition. And it would make a great wake-up call to boot. ~Ian Patterson

Personnel: Nicole Johänntgen: saxophone (alto); Jon Ramm: trombone; Steven Glenn: sousaphone; Paul Thibodeaux: drums.

Henry

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Jocelyn Medina - Common Ground

Size: 133,8 MB
Time: 57:21
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, World
Art: Front

01. Two But Not Two (6:39)
02. Common Ground (6:01)
03. Meant To Be (5:19)
04. Slow It Down (6:57)
05. Sink Or Swim (5:47)
06. Simple (7:25)
07. Break Through (5:51)
08. Second Thought (5:53)
09. Waiting For (7:25)

Jocelyn Medina is a New York-based jazz singer, composer, and lyricist. Her musical explorations have led her to travel to Brazil, Ghana, and most recently to India where she performed and studied while teaching full-time at a music school in Mumbai. Her latest collection -COMMON GROUND - fuses jazz harmonies with raga-based melodies from India and polyrhythms from Ghana to create a new and exciting soundscape.

Medina has a pure, fluid voice that's sometimes reminiscent of Flora Purim and sometimes of Joni Mitchell, but she clearly has her own style. Her lyrics reflect the influence of a Buddhist worldview and a strong social consciousness. Medina says, "I don't make up stories. My lyrics grow from the things I observe, from the flow of humanity, and from just living in New York City." Medina wrote and arranged all the compositions on this CD.

The ensemble is Jocelyn Medina, vocals, Steve Gorn, Basuri flute, Hadar Noiberg, flute, Pete McCann, electric and acoustic guitar, Art Hirahara, piano and Rhodes, Evan Gregor, bass, Mark Ferber drums, Samir Chatterjee, table, Robert Levin, percussion, and Achyut Joshi, vocals.

The tracks are Two But Not Two, Common Ground, Meant To Be, Slow It Down, Sink Or Swim, Simple, Break Through, Second Thought, and Waiting For.

A Voice seductive, delicate, resonate, and crystalline – a major humanist who happens to communicate through singing. ~Grady Harp

Common Ground

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Stanton Moore - Conversations

Styles: Jazz, Bop
Year: 2014
File: MP3@320K/s
Time: 63:03
Size: 146,5 MB
Art: Front

(5:05)  1. Lauren Z
(6:14)  2. Carnival
(7:29)  3. Driftin'
(4:53)  4. Magnolia Triangle
(4:11)  5. Waltz for All Souls
(6:18)  6. Tchefunkta
(4:51)  7. The Chase
(4:18)  8. Big Greaze
(7:25)  9. In the Keyhole
(5:29) 10. Paul Barbarin's Second Line
(6:46) 11. Prayer

Conversations is the first straight jazz date led by drummer Stanton Moore, who is best known as the kit man for NOLA jam-funk powerhouse Galactic. He is no stranger to jazz; he plays it in hybrid form with the Garage a Trois quartet but they play lots of other music too. Here Moore is in the company of two New Orleans jazz veterans: bassist James Singleton and pianist David Torkanowsky. The drummer took lessons from the Crescent City's celebrated Kenny Washington to up his chops for this group. And it is a group. They formed to play a weekly club gig at Snug's Harbor in 2012 and have been doing so ever since. The program is almost exclusively comprised of tunes by New Orleans composers and the personnel with one notable exception, Herbie Hancock's blues "Driftin'," onto which Torkanowsky grafted a strolling, striding, James Booker-inspired intro. The swing quotient here is high. Though all the material is straight-ahead jazz, it purposely reflects the city's tradition. On "Carnival," a Mardi-Gras second-line groover led by a martial drum solo intro, the rolling, marching terrain gets nearly modal in the midsection and the drummer's tom toms employ wonderful breaks and Latin tinges while the pianist weaves elegant harmonic s flourishes into the funky changes. "Waltz for All Souls" is an elegiac ballad with gorgeous arco work in the midsection from Singleton. Moore's playing reflects the funeral parade marchers as Torkanowsky brings forth the gospel tradition. Even in the bluesy, swinging post-hard bop of "In the Keyhole," whose melody reflects the Horace Silver trio, one can hear the influence of Professor Longhair's groove quotient amid the syncopation, knotty rim shots, and fingerpopping bassline. Moore offers not only in-the-pocket flair, but ample imagination. His interaction with Torkanowsky shines on opener "Lauren Z," where his rolls and fills accent Singleton's thrumming groove pulse and push the pianist to fully employ fluid, fleet, mid-high register ostinatos. There is a substantial neo-bop flair in the funky "Big Greaze," and the pianist's assured runs and improvising acumen lead the conversation into compelling terrain. The reading of standard "Paul Barbarin's Second Line" is anything but rote. The complex interplay between Singleton and Moore opens the gates for Torkanowsky to explore the ranges of the tune's harmonics. Conversations is well balanced, beautifully played and musically engaging throughout. While it will be interesting to note the reactions of jam band and Galactic fans, jazz listeners will find much to enjoy here. ~ Thom Jurek http://www.allmusic.com/album/conversations-mw0002620798

Personnel: Stanton Moore (drums); David Torkanowsky (piano).

Conversations

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Ingrid Lucia & The Flying Neutrinos - Hotel Child

Styles: New Orleans Jazz, Retro swing
Year: 2000
File: MP3@320K/s
Time: 37:02
Size: 85,8 MB
Art: Front

(3:40)  1. Mr. Zoot Suit
(2:59)  2. Violent Love
(3:34)  3. Cry
(2:31)  4. Some of These Days
(3:25)  5. Love Is Coming Back
(3:36)  6. Lonely Side
(2:07)  7. Baby's Making Duck
(2:51)  8. Someday You'll Be Sorry
(3:14)  9. Promise
(3:08) 10. I Believe in Miracles
(3:46) 11. Johnny
(2:08) 12. After Hours

New Orleans chanteuse Ingrid Lucia knows what boys want, too-the decidedly sudsy doe-eyed beauty frolics in a penthouse bathtub on the cover of The Hotel Child-but she downplays her sex appeal with a cool-jerk smirk and a detached Lady Day delivery (read: no garters, no cleavage, no tropical drinks). The ragtag Flying Neutrinos, Lucia’s rhythm-and-horns backing band, is capable of jetting off toward various musical horizons, and while swing is always the starting point, the side routes are pleasantly diverse: “Mr. Zoot Suit” is traditional New Orleans hot jazz, “Violent Love” is speakeasy R&B and “Cry” has a hop-along country gallop and a weepy steel guitar, courtesy of Matt Munisteri. Lucia’s vaudeville twists are flirty and fun, but the true star of The Hotel Child (the title was taken from an F. Scott Fitzgerald short story) is trumpeter Jon-Erik Kellso, whose instrument has a Framptonesque mind of its own, running the gamut of emotions from bleating glee to sobbing despair. ~ Sean Daly https://jazztimes.com/reviews/albums/ingrid-lucia-and-the-flying-neutrinos-the-hotel-child/

Personnel: Ingrid Lucia (vocals); Todd Londagin (vocals, trombone); Matt Munisteri (guitar, banjo, background vocals); Will Holshouser (accordion); Dan Levinson (clarinet, tenor saxophone, background vocals); Michael Hashim (baritone saxophone); Jon-Erik Kellso (trumpet, background vocals); David Berger (snare drum); Matthew Weiner, Al Schmitt, Bill Smith , Jon Weiner (background vocals).

Hotel Child

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Earl Bostic - Flamingo

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 55:18
Size: 126,6 MB
Art: Front

(2:44)  1. Flamingo
(3:12)  2. Sleep
(3:01)  3. Always
(2:42)  4. Moonglow
(2:22)  5. Ain't Misbehavin'
(3:11)  6. You Go To My Head
(3:02)  7. Cherokee
(3:01)  8. Steamwhistle Jump
(2:46)  9. What! No Pearls
(2:30) 10. Deep Purple
(2:34) 11. Mambostic
(2:44) 12. Sweet Lorraine
(3:09) 13. Where or When
(2:20) 14. Harlem Nocturne
(2:36) 15. 720 in the Books
(2:43) 16. Tuxedo Junction
(2:35) 17. Night Train
(2:24) 18. Special Delivery Stomp
(2:49) 19. Song Of The Islands
(2:45) 20. Liebestraum - Liszt

Alto saxophonist Earl Bostic was a technical master of his instrument, yet remained somewhat underappreciated by jazz fans due to the string of simple, popular R&B/jump blues hits he recorded during his heyday in the '50s. Born Eugene Earl Bostic in Tulsa, OK, on April 25, 1913, Bostic played around the Midwest during the early '30s, studied at Xavier University, and toured with several bands before moving to New York in 1938. There he played for Don Redman, Edgar Hayes, and Lionel Hampton, making his record debut with the latter in 1939. In the early '40s, he worked as an arranger and session musician, and began leading his own regular large group in 1945. Cutting back to a septet the next year, Bostic began recording regularly, scoring his first big hit with 1948's "Temptation." He soon signed with the King label, the home of most of his biggest jukebox hits, which usually featured a driving, heavy, R&B-ish beat and an alto sound that could be smooth and romantic or aggressive and bluesy. In 1951, Bostic landed a number one R&B hit with "Flamingo," plus another Top Ten in "Sleep." Subsequent hits included "You Go to My Head" and "Cherokee." Bostic's bands became important training grounds for up-and-coming jazzmen like John Coltrane, Blue Mitchell, Stanley Turrentine, Benny Golson, Jaki Byard, and others. Unfortunately, Bostic suffered a heart attack in the late '50s, which kept him away from music for two years. He returned to performing in 1959, but didn't record quite as extensively; when he did record in the '60s, his sessions were more soul-jazz than the proto-R&B of old. On October 28, 1965, Bostic suffered a fatal heart attack while playing a hotel in Rochester, NY. ~ Steve Huey http://www.allmusic.com/artist/earl-bostic-mn0000793607/biography

Flamingo

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Eddie Harris - There Was a Time (Echo of Harlem)

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 59:24
Size: 136,4 MB
Art: Front

( 8:32)  1. Love Letters
(10:21)  2. Historia de un Amor
( 5:02)  3. Autumn in New York
( 4:51)  4. Photographs of You
( 4:28)  5. The Song Is You
(12:42)  6. Harlem Nocturne
( 5:22)  7. There Was a Time (Echo of Harlem)
( 8:03)  8. Lover Come Back to Me

Eddie Harris, famous as the master of the electrified sax and for his brand of funky jazz, sticks exclusively to acoustic straightahead music on this rewarding Enja CD. With assistance from pianist Kenny Barron, bassist Cecil McBee and drummer Ben Riley, Harris is heard in peak form on such songs as "Love Letters," "Autumn in New York," "The Song Is You" and a lengthy "Harlem Nocturne." Although Harris has maintained a fairly low profile during the past decade, he is still playing in his prime as this highly recommended CD demonstrates. ~ Scott Yanow http://www.allmusic.com/album/there-was-a-time-echo-of-harlem-mw0000675002

Personnel: Eddie Harris (tenor saxophone); Kenny Barron (piano); Ben Riley (drums)

There Was a Time (Echo of Harlem)

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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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