Inger Marie Gundersen - By Myself

Bitrate: MP3@320K/s

Time: 44:16

Size: 101.3 MB

Styles: Jazz vocals

Year: 2007

Art: Front

[4:19] 1. I Don't Want To Talk About It

[3:16] 2. By Myself

[3:57] 3. A Taste Of Honey

[4:14] 4. Sad Song

[5:36] 5. One

[3:16] 6. Don't Let Me Be Lonely Tonight

[2:29] 7. I'm So Lonesome I Could Cry

[4:19] 8. Where Were You

[3:40] 9. If You Go Away

[5:01] 10. Don't Explain

[4:06] 11. You Don't Know What Love Is

On her second album, ”By Myself”, Inger Marie chose to work with the renowned Danish producer Søren Sigumfeldt. They recorded the album in Gothenburg, Sweden, still with Inger Marie’s hand picked local Arendal musicans, but also inviting the Swedish guitar virtuoso Ulf Wakenius to the studio. Other guest performers include Gunnar Halle (trumpet) and Niclas Knudsen (electric guitar). The record has been released in most European countries by the Danish company Sundance, on the Stunt label.

By Myself  

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BWB - Groovin'

Bitrate: MP3@320K/s
Time: 60:49
Size: 139.2 MB
Styles: R&B, Smooth jazz
Year: 2002
Art: Front

[4:47] 1. Groovin'
[4:51] 2. Brown Sugar
[5:46] 3. Ruby Baby
[5:44] 4. A Woman's Worth
[7:27] 5. Hip Hug Her
[6:41] 6. Mercy Mercy Mercy
[7:21] 7. Let's Do It Again (Featuring Dee Dee Bridgewater)
[4:52] 8. It's Your Thing
[7:27] 9. Povo
[5:49] 10. Up For The Down Stroke

This concept sounds like the set-up for a joke: What do you get when you cross three smooth-jazzers with topnotch straight-ahead players? Turns out Norman Brown, Kirk Whalum, and Rick Braun have the last laugh and a damn good time. While they may be three of the most distinct stylists in smooth jazz, they had to turn up the pots to cook with bassist Christian McBride and drummer Gregory Hutchinson. Keyboardist Ricky Peterson, maybe the funkiest organist in contemporary jazz outside of Larry Goldings, plays a producing role and is probably the MVP of BWB. The players aren't the only stars. The impeccable choice of 10 well-known cover tunes adds to an unapologetically fun record that allows B, W, and B to stretch out much more than they do on other recordings. Braun quotes Freddie Hubbard on "Povo," while Whalum explores Cannonball Adderley on "Mercy, Mercy, Mercy," and Brown pays back Wes Montgomery throughout the proceedings. From the sexually charged "Let's Do It Again," featuring a purring Dee Dee Bridgewater and a scatting Brown, to the inspired arrangements of Alicia Keys's "A Woman's Worth" and D'Angelo's "Brown Sugar," there are no holes in any of these grooves. ~Mark Ruffin

Groovin'

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Gabriel Espinosa - Songs Of Bacharach And Manzanero

Bitrate: MP3@320K/s
Time: 49:55
Size: 114.3 MB
Styles: Vocal jazz, Latin jazz
Year: 2016
Art: Front

[5:09] 1. Adoro
[5:06] 2. (They Long To Be) Close To You (Feat. Tierney Sutton)
[5:02] 3. Como Yo Te Ame
[3:18] 4. The Look Of Love (Feat. Tierney Sutton)
[5:00] 5. Esta Tarde Vi Llover
[4:46] 6. What The World Needs Now (Feat. Tierney Sutton)
[4:04] 7. Somos Novios
[6:16] 8. Raindrops Keep Falling On My Head (Feat. Tierney Sutton)
[4:40] 9. Cuando Estoy Contigo
[6:29] 10. Alfie (Feat. Tierney Sutton)

Bassist-composer-arranger Gabriel Espinosa explores the common ground between two prolific and influential popular composers who came to prominence during the ‘60s in their respective countries -- Burt Bacharach in the United States and Armando Manzanero in Mexico. With five-time Grammy Award-nominated vocalist Tierney Sutton handling the five familiar Bacharach tracks and Espinosa himself singing the Spanish lyrics of five tunes by his fellow countryman and native of Yucatan, this alluring concept album is brimming with the kind of sophisticated harmonies, unexpected chord progressions and changing meters that mark both acclaimed composers’ work, while also being unabashedly romantic at his core.

As Espinosa states, “I’m not a jazz musician, I’m not a Brazilian musician or Afro-Cuban musician or bolero musician. I’m a little bit of everything, so I put a little bit of everything in these songs.” What do the famed American pop composer and beloved Mexican bolero composer have in common? Espinosa rattles off a list of qualities: “Beautiful melodies, beautiful harmonies, beautiful lyrics. Friendly songs. Songs that people can relate to. Songs that people can sing along to. They’re beautiful songs. To me, they are like the new American Songbook writers. Bacharach is a magic composer. Nobody was writing popular music like that in the ‘60s. And Manzanero is the equivalent of Jobim, but in the Mexican bolero music tradition. He is one of the idol composers in Mexico.” ~Grady Harp

The ensemble is Gabriel Espinosa, vocals, Tierney Sutton, vocals, Misha Tsiganov, piano and fender Rhodes, Mauricio Zottarelli, drums, percussion. Jim Seeley, trumpet, flugelhorn, Hendrik Meurkins, harmonica, Gustavo Amarante, electric bass, Joe Martin, acoustic bass, Gabriel Espinosa, eclectic bass, Rubens De La Corte, acoustic guitar, Itai Kriss, flute, and Johathan Gomez, bongos.

Songs Of Bacharach And Manzanero

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Stan Kenton - Kenton In Hi-Fi

Bitrate: MP3@320K/s
Time: 59:29
Size: 136.2 MB
Styles: Big band
Year: 1956/1992
Art: Front

[2:34] 1. Artistry Jumps
[3:01] 2. Interlude
[4:15] 3. Intermission Riff
[3:02] 4. Minor Riff
[2:58] 5. Minor Riff (Alternate Take)
[2:35] 6. Collaboration
[3:03] 7. Painted Rhythm
[3:05] 8. Southern Scandal (1945 Version)
[4:33] 9. The Peanut Vendor
[3:20] 10. Eager Beaver
[7:03] 11. Concerto To End All Concertos
[2:38] 12. Artistry In Boogie
[2:30] 13. Lover
[3:10] 14. Unison Riff
[4:05] 15. Opus In Pastels
[2:52] 16. Machito
[4:36] 17. Artistry In Rhythm

After years of big band experimentation, Stan Kenton seemed to settle into a more grounded groove on 1956's In Hi-Fi. To his credit, Kenton did keep things swinging before, even in the midst of high brow bombast like the string-laden, 39 piece Innovations in Modern Music orchestra and numerous jazz meets Stravinsky projects. This uncanny balance of flow and brains came out of Kenton's own tempered direction and fine contributions by the likes of arranger Pete Rugolo, trumpeter Shorty Rogers, alto saxophonist Art Pepper, and singers Anita O'Day and June Christy. Thanks to a seamless mix of dazzling charts and liberal doses of Lunceford and Ellington-inspired swing, the marriage certainly works on Kenton in Hi-Fi. Old hits like "Eager Beaver" and "Artistry In Boogie" sparkle in the warm glow of '50s stereo technology, while fiery renditions of "Lover" and "The Peanut Vendor" show the famous muscle of the Kenton band. With the stellar playing of tenor saxophonist Vido Musso, trumpeter Pete Candoli, and drummer Mel Lewis to look forward to, one can see why this album was not only one of Kenton's most popular releases, but a critical success as well. ~Stephen Cook

Kenton In Hi-Fi

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Art Taylor's Wailers - Wailin' At The Vanguard

Styles: Hard Bop, Post Bop
Year: 1993
File: MP3@320K/s
Time: 62:31
Size: 143,3 MB
Art: Front

( 0:14)  1. Street Intro
( 1:24)  2. A.T.'s Shout
( 0:25)  3. Bridge Theme
( 0:49)  4. Band Introductions
( 8:24)  5. Dear Old Stockholm
( 8:25)  6. Stressed Out
( 4:50)  7. So Sorry Please
( 0:20)  8. Bridge Theme
( 8:59)  9. Mr A.T. Revisted
( 0:36) 10. Interchat
( 5:07) 11. Sophisticated Lady
( 5:34) 12. In A Sentimental Mood
( 6:24) 13. Chelsea Bridge
(10:13) 14. Harlem Mardi Gras
( 0:40) 15. Bridge Theme-Salt Peanuts

Following the successful Mr. A.T., drummer Art Taylor found himself to be a modern-day Art Blakey by leading a youthful group known as Taylor's Wailers. Pianist Jacky Terrason is a versatile player with a distinct voice, who along with Taylor is the heart and soul of this band. Going back to the '50s, the leader fancied the dynamics of two saxophonists playing off of each other, which Abraham Burton and Willie Williams do exceedingly well here. Walter Bolden's compositions make for the most interesting moments here, in particular the "Bridge Theme" which is restated throughout. This is excellent hard bop played by a true master, and it's a shame that "Mr. A.T." passed away shortly after this recording was made. ~ Robert Taylor http://www.allmusic.com/album/wailin-at-the-vanguard-mw0000102016

Personnel: Arthur Taylor (drums), Abraham Burton (alto saxophone), Willie Williams (tenor saxophone), Jacky Terrasson (piano), Tyler Mitchell (acoustic bass).

Wailin' At The Vanguard

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Patricia O'Callaghan - Naked Beauty

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 48:11
Size: 110,7 MB
Art: Front

(2:25)  1. Dayton, Ohio-1903
(2:46)  2. Naked Beauty
(6:12)  3. The Smokey Life
(4:07)  4. Cry Me A River
(4:15)  5. I Believe In You
(2:58)  6. Yo M'enamori D'un Aire
(2:38)  7. Tonight We Fly
(2:22)  8. The Book Of Love
(5:00)  9. The Ballad Of Lucy Jordan
(3:19) 10. Noches, Noches
(3:29) 11. Sad Boy
(4:31) 12. True Love Leaves No Traces
(4:03) 13. Lost In The Stars

Patricia O’Callaghan is something of a wandering minstrel. Her fifteen-year career has taken her across genres, continents, and a range of disciplines and passions.Her recording career spans six solo CDs and many interesting guest collaborations. A speaker of French, Spanish, and German, her early recordings focused on European cabaret, and she is considered a specialist in the music of Kurt Weill. Patricia has performed his Threepenny Opera, Seven Deadly Sins, and Kleine Mahagonny with Soulpepper Theatre Company, Edmonton Opera, and Vancouver Opera, to name a few. http://www.patricia-ocallaghan.com/about.html

"This Toronto soprano can sing a 100-year-old German tune so lustily that you almost don't need a translation to know that someone's about to get his throat cut or get laid or both." ~ The National Post

One of Patricia’s most unique talents is the ability blend a variety of languages and musical genres seamlessly together in her concerts, and completely embody whatever style she is singing at any given moment.

"O'Callaghan sings her diverse material as if it was always meant to go side-by-side and by the end of the evening, it's easy to believe her." ~ Chart Attack Magazine

She has sung with some of the world's great ensembles and artists (Orpheus Chamber Orchestra, Don Byron Quartet, Bryn Terfel), and has performed in venues that range from London's Royal Opera House to New York's Noho cabaret Le Poisson Rouge. Patricia also writes and co-writes songs and has had the honor of premiering many new compositions, from both the classical and pop worlds. It has been her great privilege to work with such creators as R. Murray Schafer, Dennis Lee, Christos Hatzis, George Aperghis, Steve Reich, and Steven Page, to name a few. Patricia's film, theatre and television credits include her own Bravo! special, The CBC produced Ken Finkleman series Foolish Heart, and the semi autobiographical Rhombus / Westwind film Youkali Hotel, which has won several prizes, including a Golden Sheaf Award to Patricia for best female performance. Ms. O'Callaghan has also received other awards, such as a Chalmer's Grant from the Ontario Arts Council and a Fleck Fellowship from The Banff Centre for the Arts.  She just completed a six year stint as a Resident Artist at Toronto's Soulpepper Theatre Company. Her responsibilities there included conducting, teaching, mentoring young artists, producing, curating and performing in festivals, and developing new work. Recent projects are Broken Hearts and Madmen; a collaboration with The Gryphon Trio, which blends classical music with traditional songs from Latin America and pop songs from around the world...

"Broken Hearts and Madmen is an exquisite piece of work. The result is absolutely breathtaking in its attention to detail, with every note carved from their love of the songs..." ~ Vivoscene

And Matador: The Songs of Leonard Cohen

"A truly exceptional blend of natural expressiveness and masterful coloration, her tender versions of Cohen's "Take this Waltz" and "Hallelujah" are revelatory." ~ Billboard Magazine

And brand new is her first Christmas CD, Deepest December. It’s not a typical holiday album, covering Renaissance to modern, and hurdy gurdy to lap steel guitar. Its beautiful carols, haunting arrangements, and unusual juxtapositions will make you feel at once the icy frost of winter and the warmth of the hearth.

"She's one of the best singers ever to come out of Canada."~ Vivascene, 2012

Naked Beauty

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Kenny Burrell - Blue Lights Volume 1 And Volume 2

Album: Blue Lights Volume 1

Styles: Guitar Jazz

Year: 1958

File: MP3@320K/s

Time: 34:56

Size: 80,7 MB

Art: Front

(11:10)  1. Yes Baby

( 8:00)  2. Scotch Blues

( 5:48)  3. Autumn In New York

( 9:56)  4. Caravan

Album: Blue Lights Volume 2

Time: 40:11

Size: 92,7 MB

(11:22)  1. Rock Salt

( 6:47)  2. The Man I Love

(12:13)  3. Chuckin'

( 9:47)  4. Phinupi

The music on this 1997 two-CD set was originally on two LPs and already previously reissued as a pair of CDs. Guitarist Kenny Burrell leads a very coherent jam session in the studio with a particularly strong cast that also includes trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, either Duke Jordan or Bobby Timmons on piano, bassist Sam Jones, and drummer Art Blakey. The material consists of basic originals and standards and has excellent playing all around; six of the nine tunes are over nine minutes long. At that point in time, Cook and Brooks had similar sounds, but, fortunately, the soloists are identified in the liner notes for each song. The solo star is often trumpeter Louis Smith, who fell into obscurity after a few notable appearances on Blue Note during the period (including his own brilliant date, Here Comes Louis Smith). He was one of the finest of the Clifford Brown-influenced players of the period and deserves much greater recognition. This is a recommended reissue for hard bop collectors who do not already have the two individual CDs. ~ Scott Yanow http://www.allmusic.com/album/blue-lights-vols-1-2-mw0000024842

Personnel:  Kenny Burrell – guitar;  Louis Smith – trumpet;  Tina Brooks (Volume 1 tracks 2, 3 & 5, Volume 2 tracks 1-3), Junior Cook (Volume 1 tracks 1-3 & 5, Volume 2 tracks 1-3) - tenor saxophone;  Duke Jordan (Volume 1), Bobby Timmons (Volume 2) – piano;  Sam Jones – bass;  Art Blakey - drums

Blue Lights Volume 1 And Volume 2

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Charlie Palmieri & Latin Music Legends - Mambo Show

Styles: Piano, Latin Jazz
Year: 1990
File: MP3@320K/s
Time: 44:06
Size: 102,4 MB
Art: Front

(6:41)  1. Mambo Show
(5:18)  2. Latin Beat
(5:17)  3. Boogason
(7:11)  4. Si Tu Puedes Bailar
(7:20)  5. Mambo For Henry
(4:15)  6. Barrabas
(7:59)  7. Cristine

The older brother of Eddie Palmieri, Charlie Palmieri was every bit as gifted a pianist as his sibling, very percussive and responsive to rhythm while also flashing florid passages that were clearly the product of a classical education. His piano studies began at seven and he attended the Juilliard School of Music, turning pro at 16. He started the group El Conjunto Pin Pin in 1948, and then played in a series of ensembles including those of Tito Puente, Tito Rodriguez, and Pupi Campo before forming his own Charanga Duboney group in 1958. As music director of the Alegre All Stars while recording for the Alegre label in the 1960s, Palmieri stimulated competition among Latin labels like Tico and Fania, which formed their own all-star bands in response. Like many Latin jazz artists of the time, Palmieri flirted with the popular Latin boogaloo style in the 1960s and made some records for major labels like RCA Victor and Atlantic. He endured a near mental breakdown in 1969, but rebounded to work again for Puente on his El Mambo de Tito Puente television program, and he also found a second career as a historian and teacher of Latin music and history at various New York colleges in the 1970s. Palmieri moved briefly to Puerto Rico from 1980 to 1983, and after suffering a severe heart attack and stroke upon his return to New York, he recovered to lead various Latin combos, including Combo Gigante. One of his last recordings was a galvanizing cameo appearance on Mongo Santamaria's "Mayeya" in 1987 (now on Mongo's Afro Blue: The Picante Collection for Concord Picante), and he appeared in England for the first time in 1988 shortly before his death. Almost all of Palmieri's work is hard to find through domestic channels, but Messidor's A Giant Step is available on CD. ~ Richard S.Ginell http://www.allmusic.com/artist/charlie-palmieri-mn0000212129/biography

Personnel:  Bass – Ray Martinez (7);  Bongos, Cowbell – Johnny Rodriguez;  Congas – Mongo Santamaria;  Piano, Producer – Charlie Palmieri;  Saxophone – Chombo Silva;  Timbales, Percussion – Nicky Marrero;  Trombone – Barry Rogers;  Trumpet – David "Piro" Rodríguez;  Vocals – Adalberto Santiago, Ray De La Paz, Yayo "El Indio" Pequero

Mambo Show

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Tim Bowman - Into The Blue

Styles: Jazz, Smooth Jazz 
Year: 2017
File: MP3@320K/s
Time: 55:34
Size: 128,6 MB
Art: Front

(4:13)  1. City Lights
(4:24)  2. All I Need Is Love (feat. Stokley)
(4:29)  3. Into The Blue
(0:41)  4. Hello
(4:16)  5. Tan Hermosa (So Beautiful)
(5:16)  6. Amazing Grace Party (feat. Jonathan DuBose, Jr. & Tim Bowman, Jr.)
(4:32)  7. Detroit Funk (feat. TMC)
(3:16)  8. My Heart to You (feat. Angela Johnson)
(4:27)  9. Boss
(4:50) 10. Love Forever More
(1:15) 11. Madrid
(4:35) 12. Travelin' Road
(4:14) 13. You Are (feat. Elan Trotman)
(3:56) 14. Seaside Drive
(1:02) 15. Goodbye

Detroit based jazz guitarist Tim Bowman always followed his own way to musically express his feelings and ideas. Since his debut album Love, Joy, Peace in 1995 he constantly makes his contribution to the smooth jazz world. With his albums Paradise (1998), Smile (2000), This Is What I Hear (2004), Tim Bowman (2008) and The Collection (2010) he delivered gratefully accepted gifts to his fan community. After a longer hiatus he returns this year with Into The Blue on I.M. Records / Purpose Jazz, scheduled for release September 8th, 2017. The album is brimming with greater and catchier songs as if Tim would compensate his fans for the long absence. The Darren Rahn produced City Lights is the first single of the album presenting Tim on guitar in an exhilarated mood. His passion for melody finds its aptly expression in Benson-esque guitar chords. The awesome song All I Need Is Love features vocalist Stokley Williams, best known as the lead singer and studio drummer of the band Mint Condition. He already graced with his vocal appearances Boney James' Either Way (Futuresoul) and U-Nam's Nature Boy (Weekend in L.A.). On Into The Blue Tim Bowman enunciates each note with absolute perfection. A third force to Peter White and Marc Antoine.

The interlude Hello is a musical greeting on acoustic guitar. Tan Hermosa (So Beautiful) is a melodic gem created in cooperation with producer and keyboardist Dana Davis, who already left a sparkling trace on several of Tim's earlier albums. Amazing Grace Party is a boosting medley of the popular Gospel songs Amazing Grace and Wade in the Water featuring beside his band especially the voice of Tim Bowman Jr. in all its youthful freshness. Detroit Funk is a collaboration of TMC that includes Bowman, former Pleasure guitarist Marlon McClain, and Cordell Walton, musical director for Charlie Wilson. A heavy dose of funk in the traditional sense. On the love ballade My Heart To You Tim picks up again his nylon string guitar, which perfectly fits to the romantic atmosphere of Angela Johnson's lovely voice. “It’s just more of a melodic, romantic instrument to me because of the tone of it,” Tim admits. Of course, this does not mean the romantic features are missing in an electric guitar, as he proves on the funky Boss. Heartfelt love ballads run right through the album like a red thread. Love Forever More is another red rose on acoustic guitar dedicated to his wonderful wife.

The second interlude Madrid combines sounds of the Spanish capital city with a Latin flavored guitar. Since his album Serenity we waited for a life sign of saxophonist and producer Randy Scott. On Travelin' Road he and Tim glisten with great eloquence and proficiency. The horn arrangement is absolutely stunning. You Are was a hit by Charles Kent "Charlie" Wilson, the former lead singer of the Gap Band. The song was released in 2010 on his Grammy nominated solo album Just Charlie. Tim presents his personal in Rainbow colors swinging rendition with Elan Trotman as featured saxophonist. Seaside Drive allures with an enchanting anthem for all West Coast car drivers. Goodbye is Bowman's acoustic farewell. On Tim Bowman's Into The Blue good vibes are guaranteed. His musical creativity and guitar mastery will blow you away. http://www.smooth-jazz.de/firstview/Bowman/IntoTheBlue.htm

Into The Blue

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Kim Simmonds - Jazzin' On The Blues

Bitrate: MP3@320K/s
Time: 47:13
Size: 108.1 MB
Styles: Jazz/Blues guitar
Year: 2006
Art: Front

[4:31] 1. Dancing On A Memory
[4:01] 2. Walking The Guitar
[3:32] 3. Theme For Deborah
[4:16] 4. Surrender
[3:52] 5. Jazzin' On The Blues
[3:38] 6. The Maze
[4:40] 7. She's A Women
[3:35] 8. Rollin' The Blues
[3:40] 9. Nightliner
[4:47] 10. True Blue
[3:37] 11. Shop Around
[3:00] 12. Fascination

This effort from Kim Simmonds (Savoy Brown), Jazzin’ on the Blues, is wonderfully brilliant. Featuring twelve amazing instrumental tracks of Simmonds killing it on acoustic guitar, bass guitar, and harmonica alongside percussionist Ron Keck, this record is destined to stand the test of time.

Bursting out a Latin groove to kick things off, Simmonds masterfully plays “Dancing on a Memory” with a suave finesse. I absolutely adore this track. Title track “Jazzin’ on the Blues” and “The Maze” are another couple of stellar originals which shine brightly. Simmonds’ performance is absolutely flawless. I also immensely enjoy Simmonds’ stunning covers of Bill Doggett’s “True Blue” and Smokey Robinson’s “Shop Around”. They are both very nice indeed. Like a beautiful Technicolor sunset at the end of the day, “Fascination” brings a lovely end to the album. Jazzin’ on the Blues is an album I can sit down and enjoy from beginning to end, plus a few more times round again. It’s that good. ~Phillip Smith

Jazzin' On The Blues

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Robert Maxwell - Let's Get Away From It All

Bitrate: MP3@320K/s
Time: 30:31
Size: 69.9 MB
Styles: Easy Listening
Year: 2014
Art: Front

[2:35] 1. Canadian Sunset
[2:17] 2. Yellow Bird
[2:49] 3. Lisbon Antigua
[3:31] 4. Clair De Lune
[2:13] 5. Moonlight In Vermont
[2:05] 6. Song Of The Nairobi Trio
[2:21] 7. Sequoia
[2:09] 8. Carioca
[2:03] 9. Fly Me To The Moon
[3:13] 10. Malagueña
[2:33] 11. Ebb Tide
[2:36] 12. Let's Get Away From It All

Let's Get Away From It All continues the series of fantastic stereo Decca recordings based on themes suitable to the harp, especially the playful harp of Robert Maxwell.

"Canadian Sunset" is bombast including brass, electric organ, and the eerie, abstract vocals of Lois Winter, who adds a sirenish, exotic dimension to four tracks. That alone sets this record apart from Maxwell's other works. "Carioca" is an entirely fresh interpretation only Maxwell could devise: slow tempo but with heavy, almost rock bass.

There are three originals: "Song of the Nairobi Trio" (which was covered by Command percussionist Terry Snyder), an umpteenth version of "Ebb Tide" -- this time with abstract vocals -- and "Sequoia," also with vocals. And some very interesting, spacy things happen in "Let's Get Away From It All." ~Tony Wilds

Let's Get Away From It All

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Marian McPartland - Willow Creek And Other Ballads

Bitrate: MP3@320K/s
Time: 40:39
Size: 93.1 MB
Styles: Piano jazz
Year: 1985/2009
Art: Front

[3:38] 1. Without You
[5:24] 2. The Things We Did Last Summer
[4:32] 3. All In Love Is Fair
[3:23] 4. Willow Creek
[2:50] 5. Long Ago And Far Away
[4:36] 6. Someday I'll Find You
[4:02] 7. I Saw Stars
[4:58] 8. Blood Count
[3:50] 9. I've Got A Crush On You
[3:21] 10. Summer Song

Marian McPartland interprets ten diverse ballads on this album including her own "Willow Creek." The tunes are all quite sophisticated and they range from Stevie Wonder ("All in Love Is Fair"), Ahmad Jamal ("Without You") and Billy Strayhorn (the emotional "Blood Count") to Dave Brubeck and Noel Coward (his haunting "Someday I'll Find You" from "Private Lives"). This is nice music even if there is not much mood variation. ~Scott Yanow

Willow Creek And Other Ballads

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Fanny Werner - Crazy In Love

Bitrate: MP3@320K/s
Time: 44:17
Size: 101.4 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[3:28] 1. Beautiful Love
[4:45] 2. Time After Time
[5:13] 3. Crazy He Calls Me
[3:48] 4. Ugetsu-Fantasy
[3:27] 5. Deed I Do
[3:46] 6. Just Like A Butterfly That's Caught In The Rain
[3:11] 7. Little B's Poem
[4:04] 8. Strange Music
[5:32] 9. Eu Sei Que Vou Te Amar
[4:51] 10. Lush Life
[2:09] 11. Everytime We Say Goodbye

Fanny Werner explored a number of musical genres before she fully devoted herself to the one genre that most resembles her: Jazz. Influenced by the greatest jazz singers (Sarah Vaughan, Ella Fitzgerald, Anita O’Day), she leaves a complete freedom for her sensitivity as she performs jazz standards with a voice sweet and sensual, filling great classics with a new warmth. She easily sings in English as well as in French… a voice that will make you feel as if travelling around the world.

Fanny Werner is a voice : full, generous, sensitive, powerful yet delicate. A place awaits her in the stardom of the world’s great talents.

Crazy In Love

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Greg Diamond - Avenida Graham

Bitrate: MP3@320K/s
Time: 66:53
Size: 153.1 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[7:57] 1. Synesthesia
[6:35] 2. Rastros
[7:21] 3. El Coronel
[7:42] 4. Hint Of Jasmin
[7:24] 5. Gentrix
[8:23] 6. Laia
[6:22] 7. Ultima Palabra
[6:35] 8. Cascade
[8:31] 9. Motion Suite

Greg Diamond: guitar; Stacy Dillard: tenor saxophone, soprano saxophone (1, 4-6, 8, 9); Seamus Blake: tenor saxophone (2, 3); Mike Eckroth: piano; Peter Slavov: bass; Henry Cole: drums; Mauricio Herrera: congas, percussion (1, 3, 5, 9).

Brooklyn-based jazz guitarist Greg Diamond issues his most culturally diverse musical mosaic on Avenida Graham reflecting a blend of jazz and the Latin sound that has been an influential part of his life. Being half Eastern European Jewish and half Colombian, Diamond long ago learned to appreciate the Latin sounds listening to the music of Hector Lavoe and Willie Colon as he immersed himself in the jazz idiom later on. Living near Graham Avenue (aka Avenue of Puerto Rico) and Broadway for over a decade, this album is a reflection of the places, cultural and musical landscape that remain a strong influence in his life and work today.

One big asset this recording has going for it is, the A-list of players the guitarist assembles to document his music. Miguel Zenon's drummer Henry Cole and John Scofield's pianist Mike Eckroth along with bassist Peter Slavov, form the core rhythm section quartet providing the fuel to this musical engine. Diamond elevates the tone and texture of the music by adding jazz luminary Stacy Dillard on the tenor and soprano saxophone on five tracks with tenor saxophone great Seamus Blake on "Rastros" and "El Coronel" along with percussionist extraordinaire Mauricio Herrera rounding out the cast on four pieces.

There are no short pieces here with the starter "Synethesia" providing almost eight-minutes of percussive percolating grooves featuring Dillard on soprano, Herrera and Cole pounding out the beats and the leader unfurling lightning solos of his own. "Rastros" opens up in tender fashion with the guitarist delivering soft fingerplay on the strings against the backdrop of Blake's humble tenor phrases in a warm ballad of which Diamonds states is, "One of my favorite tunes of the record." One of the centerpieces of the album has to be the up tempo, fast-paced Latin-styled "El Coronel" and homage to a character from a novel by Colombian author Gabriel Garcia Marquez.

Diamond's writing provides many moments of musical magic throughout the recording such as a solemn guitar solo on the introduction to "Hint of Jasmin," the introspective haunting sounds of "Laia," the melodic and uplifting "Cascade" and the complex tempo-changing "Motion Suite" the guitarist's most ambitious work taking two years to complete. ~Edward Blanco

Avenida Graham

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The Benny Carter Quartet - Swingin' The 20s

Bitrate: MP3@320K/s
Time: 45:24
Size: 104.0 MB
Styles: Saxophone jazz
Year: 1958/1988
Art: Front

[2:50] 1. Thou Swell
[3:18] 2. My Blue Heaven
[2:32] 3. Just Imagine
[2:40] 4. If I Could Be With You (One Hour Tonight)
[5:00] 5. Sweet Lorraine
[2:23] 6. Who's Sorry Now
[2:24] 7. Who's Sorry Now (Alternate Take)
[3:20] 8. Laugh! Clown! Laugh!
[2:51] 9. Laugh! Clown! Laugh! (Alternate Take)
[3:13] 10. All Alone
[3:10] 11. All Alone (Alternate Take)
[3:06] 12. Mary Lou
[2:44] 13. In A Little Spanish Town
[2:37] 14. Someone To Watch Over Me
[3:09] 15. A Monday Date

Combining altoist Benny Carter with pianist Earl Hines in a quartet is an idea with plenty of potential, but the results of this 1958 session are relaxed rather than explosive. Carter and Hines explore a dozen tunes (standards as well as forgotten songs like "All Alone" and "Mary Lou") with respect and light swing, but one wishes that there were a bit more competitiveness to replace some of the mutual respect. [Originally released in 1958, Swingin' the Twenties was digitally remastered on CD in 1988 and includes bonus tracks.] ~Scott Yanow

Swingin' The 20s

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Saxophone Summit - Visitation

Styles: Saxophome Jazz
Year: 2014
File: MP3@320K/s
Time: 57:51
Size: 132,8 MB
Art: Front

(10:25)  1. Visitation
(10:24)  2. Balkis
( 5:18)  3. The Message
(10:31)  4. Partition
( 9:28)  5. Point
(11:42)  6. Consequence

After two recordings for Telarc 2004's Gathering of Spirits, with the late Michael Brecker, and 2008's Seraphic Light, with Ravi Coltrane assuming the position vacated by Brecker following his untimely passing the previous year Saxphone Summit is back with Visitation. Funded by the (for jazz) early crowd-funding ArtistShare imprint, it demonstrates the difference between recording for a relatively major label and one where the group can, it seems, call all the shots.  Not that the previous recordings were in any way artistic compromises   Seraphic Light was already a more experimental recording than the slightly more centrist Gathering of Spirits but the differences on Visitation are many, even as the group retains the unmistakable collective sound of its members, in particular the front line that, in addition to Coltrane, also features Dave Liebman and Joe Lovano a triple threat if ever there was one. While the sextet's previous recordings featured compositions from all the front line members, in addition to occasional contributions from pianist Phil Markowitz, bassist Cecil McBee and drummer Billy Hart, there were also significantly reworked versions of music from John Coltrane's vast repertoire that helped to define the underlying premise of the group. This time it's all-original and totally egalitarian all the way, with Visitation's six tracks representing one each from Saxophone Summit's six members. The spirit of Coltrane cannot help but loom over this saxophone-heavy group, but this time it's less overt, even as Saxophone Summit delivers its freest album yet, one where almost every tune eschews time, changes...or sometimes both.

While less intense overall, its Coltrane touchstone is in the late saxophone giant's intrinsic spirituality, a feeling that underscores the entire session. On the simmering heat of Ravi Coltrane's "The Message," a gorgeously written theme for soprano saxophone (Coltrane), tenor saxophone (Liebman) and alto clarinet (Lovano) opens up into freer terrain for a brief but finely honed solo from Markowitz that, with the horns acting as a rallying point, leads to a similarly liberated turn from McBee before the three horns return, this time for a spirited free-for-all that, bolstered by the responsively tumultuous Hart, also demonstrates just how much everyone in this group is constantly listening; freer music this may be, but never without purpose, and always predicated on some kind of structure, albeit in as oblique a manner as Saxophone Summit has ever been. Liebman's "Partition" is, perhaps, a follow-on to the kind of music he's written before like Redemption: Live in Europe's "WTC," the more abstract, near-new music composition that appeared on this 2007 Hatology release's documentation of a reunited Quest, the longstanding group in which Liebman was a member (along with Hart) in the '80s and '90s. Combining freedom and form, there are individual a cappella and accompanied solos for the three saxophonists, but also some of Liebman's most compelling writing for three horns alone together that demonstrates lack of time and changes need not imply chaos or cacophony; it can, in fact, mean truly powerful beauty.

Lovano's opening title track is more reckless in its abandon, while Hart's "Balkis" is a different kind of exploration of similar harmonic space, darker-hued in disposition. Markowitz's "Point" is the album's most extreme track, with Liebman delivering his most unfettered soprano solo of the set, while McBee's "Consequence closes the set on a more tranquil note, his arco bass a thing of beauty made all the more dramatic when he switches to pizzicato for the album's most time and changes-centric moment, one where Coltrane even briefly quotes his father's introduction to the classic A Love Supreme (Impulse!, 1965) before passing the baton to Markowitz for another solo that, as is true with every date on which he participates, suggests an artist who continues to deserve far broader recognition. It's hard to know whether or not Telarc had anything to do with the more accessible nature of Saxophone Summit's first two recordings; sometimes it's just a matter of where the musicians are at a particular point in time nothing more and nothing less. For whatever reason, Saxophone Summit has decided to take a left turn into its most abstruse, open-ended music to date with Visitation. What makes it such a fully rewarding listen is, however, that as liberated as it often becomes, it's never without underlying definition and with a dynamic range as wide as the musicians' knowledge is deep, it never loses sight of the collective's concept...and the importance of maintaining a conceptual focus, whether it's exploring more expressionistic extremes or impressionistically disposed climes. ~ John Kelman https://www.allaboutjazz.com/saxophone-summit-visitation-by-john-kelman.php
 

Personnel: Joe Lovano: tenor saxophone (1, 4, 5), G soprano saxophone (2), alto clarinet (3, 6); Ravi Coltrane: tenor saxophone (1, 2, 4-6); Dave Liebman: soprano saxophone (1, 2, 4-6), tenor saxophone (3); Phil Markowitz: piano; Cecil McBee: bass; Billy Hart: drums.

Visitation

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Rossana Casale - Billie Holiday In Me

Styles: Vocal, Jazz
Year: 2004
File: MP3@320K/s
Time: 63:28
Size: 146,7 MB
Art: Front

(4:28)  1. You've changed
(4:19)  2. Speak low
(5:45)  3. Body and soul
(4:21)  4. For heaven's Sake
(5:27)  5. Loverman
(7:31)  6. Comes love
(6:41)  7. God bless the child
(4:34)  8. Easy To Love
(3:51)  9. Every thing I have is yours
(6:00) 10. Willop weep for me
(5:31) 11. My Man
(4:55) 12. I'll be seeing you

The New York-born daughter of an American father and an Italian mother, Rossana Casale has grown into one of Italy's most adventurous musicians. Her songs have been featured in such Italian films as the Pupi Avati-directed movie Una Gita Scolastica, while she toured with Teatro dell'Opera Raffaele Paganini in the musical comedy An American in Paris. She recorded an Italian version of "Someday, My Prince Will Come" for the restored edition of Disney's Snow White and the Seven Dwarfs. Moving to Italy as a youngster, Casale temporarily lived in Venice before settling in Milan. A background singer for Italian group Albero Motore, in 1972 she enrolled at the Conservatory G. Verdi in Milan, where she studied vocals, percussion, and electronic music. Casale's 1982 debut single "Didin" was followed by the Italian pop albums Casale in 1984 and Aspettarti in 1985. She appeared at the Fest di San Remo in 1986 singing the Italian pop ballad "Destiny." Veering toward jazz in the late '90s, Casale performed at the Umbria Jazz Festival in Italy. Her first jazz album, Incoerente Jazz, was released in 1989. Although she has continued to explore the jazz realm, Casale continues to defy categorization. Her 1991 album Lo Strato Naturale represented a shift toward atmospheric jazz. 

A meeting with African group Toure Kunde sparked an interest in world music. Together with her quartet, featuring Riccardo Zegne, Luciano Milanese, Carlo Atti, and Luigi Bonafede, Casale continues to perform jazz standards by such American songwriters as Cole Porter, George Gershwin, Duke Ellington, and Thelonious Monk. In 1994, they recorded the album Jazz in Me in a whirlwind, four-day session. ~ Craig Harris https://itunes.apple.com/us/album/billie-holiday-in-me/id61579865?app=music

Personnel:  Rossana Casale voce;  Luigi Bonafede piano;  Luciano Milanese contrabbasso (6, 10, 11);  Andrea Pozza piano (6, 10, 11);  Claudio Capurro sax alto (6, 10, 11);  Carlo Milanese batteria (6, 10, 11);  Massimo Baldini sax tenore (8);  Fulvio Chiara tromba (12);  Aldo Mella contrabbasso (4).

Billie Holiday In Me

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Bert Kaempfert - The Collection

Styles: Jazz, Big Band
Year: 2001
File: MP3@320K/s
Time: 50:48
Size: 121,4 MB
Art: Front

(3:11)  1. A Swining Safari
(2:21)  2. Free As A Bird
(2:57)  3. Love Comes But Once
(2:14)  4. Treat For Trumpets
(2:08)  5. Cotton Candy
(2:22)  6. Red Roses For A Blue Lady
(2:35)  7. Three O'Clock In The Morning
(3:38)  8. Lover's Wonderland
(3:19)  9. Honeysuckle Rose
(3:14) 10. Bert's Bossa No. 2
(3:23) 11. Wheeling Free (There's A Hill Beyond The Hill Ahead)
(2:11) 12. Blue Moon
(2:37) 13. There, I've Said It Again
(2:37) 14. How Deep Is The Ocean
(3:05) 15. Love After Midnight
(3:03) 16. Time To Love
(3:18) 17. We Can Make It Girl
(2:26) 18. Goodnight Sweet Dreams

“I want to make music for everyone. It’s meant to give people pleasure. If it doesn’t, it’s failed in its purpose.” (Bert Kaempfert)

Long before the Liverpool sound even existed, it was Bert Kaempfert who, with My Bonnie, made the Beatles into recording stars as early as 1960 preparing the ground for Paul McCartney, John Lennon & Co.: phenomenal international career: they had the benefit of his knowledge, his skills and that creativity which he so undogmatically imparted. The list of the solo artists who scored success after international success with Kaempfert’s inimitable compositions reads like a Who’s Who of light music: Frank Sinatra, Al Martino, Dean Martin. Ella Fitzgerald und Shirley Bassey. Sarah Vaughan und Peggy Lee. Nat “King” Cole, Herb Alpert, Johnny Mathis. Brenda Lee, Caterina Valente, Andy Williams, Nancy Wilson  to name but a few. Quite simply, they all felt at ease with the melodies this Hamburg composer and arranger created, melodies as light and unforced as their construction was inspired. Whether intentionally or not, he clearly knew how to reproduce in his music the nature of the person he was: likeable, unassuming and restrained yet, at the same time, infectious, expressive and brimming with joie de vivre. In short, melodies that do you good. The biography of the man whose ideas occupy a firm place in the annals of music history began more than eighty years ago in a working-class district of Hamburg. http://kaempfert.de/en/biography/

The Collection

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Rolf Kuhn - Big Band Connection

Styles: Clarinet Jazz
Year: 1993
File: MP3@320K/s
Time: 54:14
Size: 127,7 MB
Art: Front

(5:16)  1. Sweet Georgia Brown
(4:40)  2. On Green Dolphin Street
(4:03)  3. Autumn Leaves
(3:40)  4. Get Me To The Church On Time
(4:00)  5. As The Lonely Years Went By
(4:38)  6. Satin Doll
(6:45)  7. Sister Sadie
(4:42)  8. Cabaret
(4:46)  9. Don't Be That Way
(7:44) 10. Stella By Starlight
(3:56) 11. Yesterdays

As noted in the brief liner notes, clarinetist Rolf Kuhn utilizes the same instrumentation on this CD as the 1938 Benny Goodman big band (except for the lack of a rhythm guitar), but the orchestra (arranged by Rob Pronk and Barry Ross) actually sounds much closer to Count Basie's in the 1960s than to Goodman's. Kuhn draws his players from The NDR Big Band. Unfortunately, except for short spots (most notably on "Sister Sadie"), little is heard from his sidemen except in anonymous ensembles; altoist Herb Geller pops up just twice while pianist Fritz Pauer and trombonist Joe Gallardo make stronger impressions. 

Rolf Kuhn is a talented bop-oriented soloist and has several fine solos, but overall these swinging renditions of tunes such as "Sweet Georgia Brown," "Autumn Leaves" and "Satin Doll" are very safe, middle-of-the-road and without any real surprises. ~ Scott Yanow http://www.allmusic.com/album/big-band-connection-mw0000173586

Personnel: Rolf Kuhn (clarinet); Herb Geller (saxophone); Joe Gallardo (trombone); Fritz Pauer (piano); Ronnie Stephenson, Lennart Axelsson, Johannes Faber, NDR Big Band.

Big Band Connection

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Michel Bisceglia - About Stories

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 62:33
Size: 144,8 MB
Art: Front

(8:03)  1. Presence Of Mammals
(6:16)  2. Song For Ervin
(4:52)  3. Prova 10
(6:14)  4. The Epic
(3:40)  5. Prova 11
(6:03)  6. No Turn Back!
(7:06)  7. All About Stories
(6:46)  8. Children's Sphere
(6:59)  9. Passion
(6:30) 10. Red Eye

“Michel Bisceglia is one of those rare musicians who is not afraid to combine a variety of styles with the jazz tradition. His writing and playing are quite lyrical and adventurous. It was a challenge and a great pleasure to work with Michel. I hope we will continue to share music with one another. ~Bob Mintzer http://www.michelbisceglia.org/about-stories/

Personnel:  Michel Bisceglia – Piano;  Randy Brecker – Trumpet;  Bob Mintzer - Tenor Saxophone & Bass Clarinet;   Werner Lauscher – Bass;  Marc Léhan – Drums  

About Stories

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