Claire Martin - The Waiting Game

Styles: Vocal Jazz 
Year: 1992
File: MP3@320K/s
Time: 50:28
Size: 117,3 MB
Art: Front

(3:30)  1. You Hit the Spot
(4:45)  2. Be Cool
(5:11)  3. This Funny World
(3:04)  4. Better Than Anything
(3:42)  5. If You Could See Me Now
(4:33)  6. Some Cats Know
(3:09)  7. The Waiting Game
(4:44)  8. It's Always Four a.m.
(4:12)  9. The People That You Never Get To Love
(3:14) 10. Tight
(6:51) 11. Everything Happens To Me
(3:27) 12. The Key To Your Ferrari

One thing Claire Martin won't be accused of is having a conventional or unadventurous repertoire. On the superb The Waiting Game, she delivers an engaging version of Betty Carter's "Tight" and insightfully turns everything from Thomas Dolby's "The Key to Your Ferrari" to Joni Mitchell's "Be Cool" into acoustic jazz. "You Hit the Spot" and "Better than Anything" aren't standards, but the soulfulness Martin brings to these neglected classics indicates that they deserve to be. The unique and distinctive improvisor doesn't avoid standards altogether her heartfelt interpretation of "Everything Happens to Me" being a fine example  but thankfully, she's not one to overemphasize them. Consistently, Martin's singing is as strikingly personal as it is expressive. ~ Alex Henderson https://www.allmusic.com/album/the-waiting-game-mw0000184952

Personnel:  Vocal – Claire Martin;  Bass – Arnie Somogyi;  Drums – Clark Tracey;  Guitar – Jim Mullen;  Piano – Jonathan Gee

The Waiting Game

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James Spaulding - Escapade

Styles: Saxophone And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 58:15
Size: 133,8 MB
Art: Front

(5:55)  1. Escapade
(6:42)  2. Cheesecake
(5:16)  3. Warm Valley
(5:10)  4. Madeline
(4:50)  5. Just One of Those Things
(6:36)  6. Grant's Tune
(6:47)  7. High Modes
(5:08)  8. The Break Through
(5:27)  9. It Could Happen to You
(6:21) 10. La Mesha

Well-swung standards and compositions of Kenny Dorham, Dexter Gordon, Grant Green and Hank Mobley are tapped for revision. Don Sickler (trumpet/flugelhorn) joins Spaulding for eight of the ten tracks, with the immaculate trio of pianist John Hicks, bassist Ray Drummond and drummer Kenny Washington as support. Spaulding's tart-sweet alto sax has never sounded better, while his pristine flute playing is easily in the top ten of late-'90s jazz performers. The CD is bookended by Dorham's music, the opening title track a flute/flugelhorn traipse through classic Blue Notesville in a light Afro-Cuban beat, the closer "La Mesha" a flute/flugel ballad. Mobley's music comes back to back, as jungle toms and light bluesy swing signify the easy mood of "High Modes," with flute and muted trumpet in unison, while the classic post-bop vehicle "The Breakthrough" has alto and trumpet strutting their stuff and puffing their chests. Gordon's similarly classic bopper "Cheesecake" has Sickler's flugelhorn playing a countermelody vis a vis Spaulding's standard alto line, and they do the same for the hip, churning melody of Grant Green's "Grant's Tune," except that Spaulding changes up on the tenor-led original by using his flute. The three numbers without Sickler are the scorching bop of "Just One of Those Things," the easy bossa beat of Duke Ellington's "Warm Valley," and the ballad treatment, on flute, of the final Mobley piece "Madeline." Spaulding shows a consistency within mainstream parameters, a real sense of teamwork with these worthy session mates, and a willingness to take chances. 

~ Michael G.Nastos https://www.allmusic.com/album/escapade-mw0000603776

Personnel:  James Spaulding (alto saxophone, flute, bass flute);  Don Sickler (trumpet, flugelhorn);  John Hicks (piano);  Ray Drummond (bass);  Kenny Washington (drums)

Escapade

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Jacky Terrasson - Smile

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 47:14
Size: 108,4 MB
Art: Front

(5:08)  1. Parisian Thoroughfare
(2:39)  2. Mo Better Blues
(6:54)  3. Smile
(4:05)  4. Sous le ciel de Paris
(3:04)  5. Isn't She Lovely?
(6:05)  6. The Dolphin
(5:45)  7. Nardis
(3:32)  8. Autumn Leaves
(3:15)  9. My Funny Valentine
(6:43) 10. 59

The stream of imaginative energy flows strong and true on Jacky Terrasson’s new recording, simply entitled Smile. The dazzling jazz pianist performs with panache and exuberance, adding his unique touch to a diverse mixture of contemporary and classic standards. The music remains true to Terrasson’s form, as it is somewhat of a return to the trio format of his early acclaimed recordings. His previous release A Paris paid homage to his childhood experiences in France and with more than a half dozen recordings on Blue Note; he continues to develop and grow into a unique pianist. Smile could easily be a case in point for music that expands on the conventional piano trio format. The trio features bassist Sean Smith and drummer Eric Harland on the bulk of the recording, with electric bassist Remi Vignolo on three tracks. The overall mood and tone is playful, unconventional, and free spirited. The recording begins with a trio work-out of “Parisian Thoroughfare,” with Terrasson weaving in and out of the melody with rapid and complex soloing. The next selection is a short but sweet rendition of Bill Lee’s “Mo Better Blues” from filmmaker Spike Lee’s movie of the same name, which is poignant and soulful. Terrasson includes subtle techniques on the title track, “Smile,” such as electric keyboards to enhance the music, but it’s his sheer inventiveness and musicianship that stamps his own signature throughout the recording. The success of this recording also lies in the choice of exceptional sidemen. Eric Harland, who is quickly making a name for himself as a dynamic drummer, once again proves his merit by delivering superb skills that match the complexity and range of the selections. His playing on Stevie Wonder‘s “Isn’t She Lovely”, transforms the ballad into a groove infused performance. Sean Smith‘s acoustic bass is full bodied and robust; as his soloing skill takes the spotlight on the “The Dolphin.” Remi Vignolo’s electric bass work sounds appropriate when used, and contributes potency and depth to the moving composition “Sous Le Ciel De Paris.” Many of these selections represent extensions from Terrasson’s recent live performances. Fortunately this spirit has spilled into the feel of the recording, with its strong sense of fun, spontaneity, and freshness. Willing listeners may find much to smile about here. Recommended. ~ Mark F.Turner https://www.allaboutjazz.com/smile-jacky-terrasson-blue-note-records-review-by-mark-f-turner.php

Personnel: Jacky Terrasson - piano;  Sean Smith - acoustic bass;  Eric Harland - drums;  Remi Vignolo - electric bass

Smile

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Gerald Wilson - Big Band Modern

Styles: Jazz, Big Band
Year: 1954
File: MP3@320K/s
Time: 67:06
Size: 153,8 MB
Art: Front

( 6:03)  1. Algerian Fantasy
( 2:49)  2. Bull Fighter
( 5:49)  3. Lotus Land
( 2:41)  4. Theme
( 4:19)  5. Mambo Mexicano
( 3:23)  6. Black Rose
( 3:12)  7. Romance
( 2:54)  8. Since We Said Goodbye
( 5:46)  9. Hollywood Freeway
( 4:08) 10. Sea Breeze
( 2:58) 11. Nice Work If You Can Get It
( 4:03) 12. Indiana
( 1:53) 13. It Had to Be You
( 4:29) 14. Out of Nowhere
(12:33) 15. Hollywood Freeway

First time on CD for this ultra-rare album by the Gerald Wilson Orchestra, the only studio session recorded by Wilson under his own name between 1947 and 1961 and features seven bonus tracks. Includes never before heard solos by tenor stars Wardell Gray, Zoot Sims and Stan Getz and one of a kind arrangements by Wilson! 

The bonus tracks are from a 1950 concert recorded in San Francisco which is, without a doubt, an essential addition to Wilson's recorded legacy, and an extremely important discographic discovery. In fact, this concert has never been previously released on any format. It was originally recorded in Stereo, which was a completely new technology in 1950. ~ Editorial Reviews https://www.amazon.com/Big-Band-Modern-Gerald-Wilson/dp/B000FTW2M0

Personnel:  Arranged By, Conductor – Gerald Wilson;  Alto Saxophone – Jerry Dodgion, Sonny Criss, Willie Smith; Baritone Saxophone – Bill Green; Bass – Addison Farmer , Red Callender;  Drums – Gus Gustafson, Lee Young;  Piano – Cedric Haywood, Gerald Wiggins; Tenor Saxophone – Frank Haynes , Paul Gonsalves , Teddy Edwards;  Tenor Saxophone [Guest] – Stan Getz , Wardell Gray, Zoot Sims;  Trombone – Atlee Chapman, Britt Woodman, Henry Coker, Isaac Bell , John Ewing , Melba Liston , Robert Wagner, Trummy Young;  Trumpet – Allen Smith, Clark Terry, Ernie Royal, Gerald Wilson, John Anderson , Louis Grey , Walter Williams

Big Band Modern

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James Spaulding - Smile of the Snake

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 58:46
Size: 135,5 MB
Art: Front

(4:52)  1. Third Avenue
(5:51)  2. Serenity
(6:07)  3. The Smile of the Snake
(4:58)  4. Lenora
(7:20)  5. Tonight Only
(7:00)  6. Premonition
(5:46)  7. Yes It Is
(5:08)  8. Panchito
(5:51)  9. Love Is Not a Dream
(5:48) 10. Havana Days (Cuba 1954)

One of the most underrated saxophonists of the post-1960 era, James Spaulding has long been a passionate postbop altoist and a warm flutist. On this superior outing he is heard in top form on both of his axes (plus two appearances on bass flute) in a quartet with pianist Richard Wyands, bassist Ron McClure and drummer Tony Reedus. Producer Donald Sickler helped advise Spaulding on the material and the result is a high-quality set of obscurities by Wyands, McClure, Clifford Jordan, Donald Brown, Geoff Keezer and Idrees Sulieman. Spaulding digs into the songs, displays a great deal of versatility and certainly has his fiery moments. One of James Spaulding's finest allround recordings. ~ Scott Yanow https://www.allmusic.com/album/smile-of-the-snake-mw0000038736

Personnel:  Alto Saxophone – James Spaulding;  Bass – Ron McClure;  Drums – Tony Reedus;  Flute – James Spaulding;  Flute [Bass Flute] – James Spaulding;  Piano – Richard Wyands

Smile of the Snake

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Cleo Laine & John Dankworth - The Collection

Styles: Vocal And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 54:46
Size: 126,9 MB
Art: Front

(2:59)  1. The Look Of Love
(3:08)  2. O' Mistress Mine (Twelfth Night)
(1:25)  3. The Complete Works
(2:52)  4. Perdido
(3:13)  5. Fear No More (Cymbeline)
(3:12)  6. Riding High
(3:31)  7. The Lady Sings The Blues
(2:39)  8. If Music Be The Food Of Love (Twelfth Night)
(3:43)  9. Tea For Two
(2:26) 10. My Love Is As A Fever (Sonnet No 147)
(3:16) 11. Stormy Weather
(1:46) 12. It Was A Lover And His Lass (As You Like It)
(2:58) 13. Witches Fair And Foul (Macbeth And A Midsummers Night's Dream)
(2:48) 14. Never Let Me Go
(2:20) 15. Shall I Compare Thee To A Summer's Day (Sonnet No 18)
(1:23) 16. Take All My Loves (Sonnet 40)
(2:31) 17. Winter (Love's Labours Lost)
(3:58) 18. Duet Of Sonnets
(4:31) 19. I Got It Bad And That Ain't Good

With a multi-octave voice similar to Betty Carter's, incredible scatting ability, and ease of transition from a throaty whisper to high-pitched trills, Cleo Laine was born in 1927 in the Southall section of London, the daughter of a Jamaican father and English mother. Her parents sent her to vocal and dance lessons as a teenager, but she was 25 when she first sang professionally, after a successful audition with the big band led by Johnny Dankworth. Both Laine and the band recorded for Esquire, MGM and Pye during the late '50s, and by 1958, she was married to Dankworth.With Dankworth by her side, Laine began her solo career in earnest with a 1964 album of Shakespeare lyrics set to Dankworth's arrangements, Shakespeare: And All That Jazz. Laine also gained renown for the first of three concert albums recorded at New York's Carnegie Hall, 1973's Cleo Laine Live! At Carnegie Hall. She also recorded two follow-ups (Return to Carnegie and The 10th Anniversary Concert) the latter of which in 1983 won her the first Grammy award by a Briton. She has proved a rugged stage actress as well, winning a Theater World award for her role in the Broadway musical The Mystery of Edwin Drood, (in addition to Tony and Drama Desk nominations as well). In 1976 she recorded a jazz version of Porgy and Bess with Ray Charles, and also recorded duets with James Galway and guitarist John Williams. Laine and Dankworth continued to tour into the 1990s, and she received perhaps her greatest honor when she became the first jazz artist to receive the highest title available in the performing arts: Dame Commander. 

~ John Bush https://itunes.apple.com/gb/album/cleo-laine-john-dankworth-collection/id13129170

The Collection

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Sonny Rollins - Way Out West

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 71:00
Size: 163,9 MB
Art: Front

( 5:43)  1. I'm An Old Cowhand
( 7:54)  2. Solitude
( 7:54)  3. Come, Gone
(10:14)  4. Wagon Wheels
( 5:18)  5. There Is No Greater Love
( 6:33)  6. Way Out West
(10:12)  7. I'm An Old Cowhand (alternate take)
(10:32)  8. Come, Gone (alternate take)
( 6:39)  9. Way Out West (alternate take)

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.] ~ Scott Yanow https://www.allmusic.com/album/way-out-west-mw0000649710

Personnel: Sonny Rollins (tenor saxophone); Ray Brown (bass); Shelly Manne (drums).

Way Out West

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Bobby Hackett - Plays The Music Of Bert Kaempfert

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 35:06
Size: 85,2 MB
Art: Front

(3:12)  1. Danke Schoen
(3:09)  2. Wonderland By Night
(2:31)  3. A Swingin' Safari
(3:31)  4. The Bass Walks
(2:40)  5. Mexican Market Day
(2:42)  6. Now And Forever
(2:58)  7. Bert's Tune
(2:38)  8. Afrikaan Beat
(3:18)  9. Sunday In Madrid
(2:46) 10. Only Those In Love
(2:59) 11. Take Me
(2:38) 12. The Happy Trumpeter

Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong. When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. ~ Scott Yanow https://www.allmusic.com/artist/bobby-hackett-mn0000077698/biography

Plays The Music Of Bert Kaempfert

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Ralph Bowen - Ralph Bowen

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 64:21
Size: 148,0 MB
Art: Front

(5:33)  1. Cache Cache
(6:16)  2. A Rookery Of Ravens
(6:28)  3. A Leap Of Leopards
(6:56)  4. A Pandemonium Of Parrots
(8:13)  5. A Flamboyance Of Flamingos
(8:47)  6. A Venue Of Vultures
(4:53)  7. A Cast Of Crabs
(5:24)  8. Aye
(6:16)  9. Picadilly Lily
(5:29) 10. Search For Peace

Saxophonist extraordinaire Ralph Bowen takes everyone back to school and puts on a master class displaying his exceptional knowledge of everything jazz. With a tour de force collection of hard hitting performances, Bowen s sixth release for Posi-Tone features the happening rhythm section of pianist Jim Ridl, bassist Kenny Davis, and drummer Cliff Almond. All of the musicians in the band do some heavy lifting behind the sensational melodicism and harmonic inventions of Bowen s impressive program of compositions and arrangements. From the opening downbeat, through the six part suite, to the final salvo, Bowen keeps the music moving steadily straight forward as he confidently displays his effortless mastery as an expressive and  unparalleled instrumentalist. We are confident that Ralph Bowen's new musical message will surely delight the ears of serious listeners and bring a joyous shout to jazz fans everywhere. ~ Editorial Reviews  https://www.amazon.com/Ralph-Bowen/dp/B072ZP4GG5

Personnel:  Ralph Bowen, tenor sax;  Jim Ridl, piano;  Kenny Davis, bass;  Cliff Almond, drums

Ralph Bowen

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Laura Rosok - No One In Particular

Size: 98,7 MB
Time: 37:47
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Little Boat (2:42)
02. Don't Know Why (4:11)
03. Body And Soul (6:05)
04. Them There Eyes (2:49)
05. Someone To Watch Over Me (4:49)
06. Beautiful Love (4:58)
07. Stormy Weather (4:25)
08. Imagine (3:34)
09. Corcovado (Quiet Nights Of Quiet Stars) (4:09)

Laura Rosok is an award winning Seattle based jazz vocalist. When you hear her sing, the timbre of her voice grabs your attention yet reassures with excellent pitch and control as she delivers her repertoire of jazz standards and popular songs with jazz and blues influences.

In 2015, Downbeat Magazine named Laura the national winner of their 38th annual Student Music Awards in the high school vocal jazz soloist category. Downbeat said of Rosok, “You are the total package! Beautiful, clear sound, great pitch, effortless flexibility of motion. A pleasure to listen to.” In 2014, Laura was named the winner of the high school division Seattle-Kobe Female Jazz Vocalist competition. This led to guest performances at Dimitriou’s Jazz Alley in Seattle as well as at the Sone Jazz Club and the Jazz Queen Vocal Contest in Kobe, Japan.

Performances in local venues and festivals include Jazz Alley, the Tacoma Musical Playhouse, Proctor Arts Fest, Jackson Street Jazz Walk, the North Bend Jazz Walk, La Spiga, Tandem Wine Bar, 192 Brewing, Four Seas's Restaurant, Sea Jazz Edmonds, Egan’s Ballard Jam House, Boxley’s, and North City Bistro. Laura also performed with Lance Buller and the Roadsters recording a KPLU studio session and broadcasting live on the radio.

A Shoreline, WA native, Laura graduated from King’s High School and is currently attending the Frost School of Music at the University of Miami in Coral Gables, Florida. She is pursuing a bachelor’s degree in music with an emphasis in jazz vocal performance, as well as a B.S. in microbiology and immunology.

No One In Particular

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Johnny O'Neal - In The Moment

Size: 167,5 MB
Time: 71:39
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front & Back

01. Sweet Monk (4:10)
02. Guilty (5:14)
03. Churchill Grounds (2:11)
04. Savings All My Love For You (6:07)
05. After The Love Is Gone (3:17)
06. She Doesn't Know (I Love Her) (5:39)
07. Slow Hot Wind (5:30)
08. Please Be Kind (3:55)
09. The Folks Who Live On The Hill (4:22)
10. Cgls (3:42)
11. People Make The World Go Round (5:21)
12. Sunday In New York (6:25)
13. Trav'lin' Light (3:17)
14. Just A Dream (On My Mind) (3:37)
15. Being In Love With You (3:54)
16. Tropical Breeze (4:53)

While every great jazz musician knows the value of spontaneity, few understand the true value of being in the moment quite like Johnny O’Neal. A rising star in the early 1980s, O’Neal left New York after a mugging in 1986. Performing and recording in Atlanta, St. Louis, Montreal and his native Detroit, he experienced another setback after he was diagnosed as HIV positive in 1998. Since returning to New York in 2010, however, both his life and his health have been on an upswing, cementing that long-promised star status at the age of 60. His new album, In the Moment, is his most vivid recording to date, fully capturing the elegant pianism and emotionally gripping voice that have made him such a beloved fixture on the NYC jazz scene ever since his unparalleled comeback.

In the Moment will be released on 2017 by Smoke Sessions Records — appropriately enough, as the label’s namesake club has been one of O’Neal’s home bases for the last seven years. The album features bassist Ben Rubens and drummer Itay Morchi, O’Neal’s regular working trio for the past year. The weightless swing and easy but deeply felt interplay the three share reveal the benefits of their regular residencies, which include late-night every Saturday at Smoke Jazz & Supper Club and Sunday nights at Small’s. Some of the biggest names in jazz stop by to hear O’Neal, and there’s no telling who might sit in during his sets on any given week. True to that policy, two very special guests dropped by the studio for this session — trumpet great Roy Hargrove and tenor-man Grant Stewart.

In The Moment

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Chiara Pancaldi - What Is There To Say

Size: 118,4 MB
Time: 50:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Everything I Love (3:33)
02. Black Is The Color Of My True Love's Hair (5:19)
03. Born To Be Blue (4:51)
04. What Is There To Say (6:10)
05. I Don't Mind (4:27)
06. A Timeless Place (6:35)
07. Reverse The Charges (5:15)
08. Medley When You're Smiling - On The Sunny Side Of The Street (5:55)
09. Love Came (3:20)
10. Since I Fell For You (5:27)

Chiara Pancaldi is a passionate italian jazz singer. Performing live in clubs and festivals in Italy and aborad: Umbria Jazz, London Jazz Festival, CrossRoads Jazz Festival, Sunset Sunside Jazz Club, Jazzkeller Jazz Club, Porgy and Bess, Unterfahrt, Teatro Giordano, Ancona Jazz Festival, Bologna Jazz Festival, Muze, Torrione Jazz Club, Alexander Plaz Jazz Club, Cantina Bentivoglio Jazz Club, Orsara Jazz Festival, Paradiso Jazz Festival, and many more.
She has worked and performed with many great Italian and american jazz musicians such as Cyrus Chestnut, John Webber, Joe Farnsworth, Darryl Hall, Kirk Lightsey, Fabrizio Bosso, Piero Odorici, Nico Gori, Pietro Tonolo, Marc Abrams, Nicola Muresu, Nico Menci, Stefano Senni, Andrea Giuffredi to name a few.

Her last album, I WALK A LITTLE FASTER has Chiara performing with an excellent trio with Cyrus Chestnut on piano, John Webber on bass and Joe Farnsworth on drums. The record, released by the dutch label Challenge Records, has Jeremy Pelt as Artistic Producer. The record has been awarded as Best Vocal Jazz Album 2015 by the Jazz Critique Magazine.

Chiara Pancaldi is presenting her new project. Chiara is supported by the legendary Kirk Lightsey on piano and the grooving Darryl Hall on bass. A pure jazz trio voice piano and bass, playing an accurate selection of jazz standards and searching for a sound that is personal, fresh and every time new.

Kirk Lightsey is a legendary jazz pianist. He has worked with jazz musicians such as Yusef Lateef, Betty Carter, Pharoah Sanders, Bobby Hutcherson, Sonny Stitt, Chet Baker, and Kenny Burrell. From 1979 to 1983 he toured with Dexter Gordon and was a member of The Leaders in the late 1980s. During the 1980s he led several sessions of his own, including duets with pianist Harold Danko. In the 1980s and since he has worked with Jimmy Raney, Clifford Jordan, Woody Shaw, David Murray, Joe Lee Wilson, Adam Taubitz, Harold Land and Gregory Porter.

Darryl Hall is a jazz bassist based in Europe. He traveled all over the world many times with the most renowned jazz artists of today, including Geri Allen, Regina Carter, Ravi Coltrane, Mulgrew Miller and many others.
His first major accolade was the first prize in the prestigious Thelonious Monk Institute competition for bass in 1995, the jury of which was composed of Ron Carter, Charlie Haden, Percy Heath and Chris McBride. This award provided an inroad to the jazz community and led Darryl to play with Jimmy Heath, Donald Byrd, Antonio Hart, Diane Reeves, Tom Harrell, Kirk Lightsey, and Benny Golson, Hank Jones, James Williams, Howard Johnson, Teodross Avery (s), Robert Glasper (p) among many others. Even bass phenomenon Christian McBride called upon Darryl to perform with his big band. He also works with renowned French artists including Laurent De Wilde and Christian Escoude.

What Is There To Say

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Lauren Kinhan - A Sleepin' Bee

Size: 169,2 MB
Time: 72:59
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Margot's Mood (7:16)
02. Two Degrees East, Three Degrees West (8:06)
03. Fractal Shadows (5:50)
04. Concerto Peligroso (4:45)
05. Delicate Balance (7:28)
06. All The Pretty Horses (5:53)
07. The Sound of Sonny (6:45)
08. Dark Tapestry (4:42)
09. Frankie and Johnny (7:03)
10. Swingin' For The Fences (7:09)
11. Monk's Dream (7:55)

Leaning on touchstones as a creative resource can be tricky business. If an artist puts too much stock in the original, they end up with a second-rate likeness of the archetype. But if they move too far away from the model, the tether breaks and the connection is completely lost in the wind. It takes a shrewd conceptualist to find the right balance between bowing and breaking free, and vocalist Lauren Kinhan most definitely fits the bill.

With A Sleepin' Bee, Kinhan salutes the great Nancy Wilson without stepping into her shoes. Material from Wilson's classic collaboration with Cannonball Adderley (and a handful of other albums) is saluted and remodeled as Kinhan invests each song with her own creative perspective. It's a work rich with invention and focused intentions, neither fitting nor breaking a mold, but rather, reshaping one.

"Let's Live Again" launches the album, mixing easy swing with some hot-blooded notions while also giving pianist Andy Ezrin room to shine. Then Kinhan dissects and updates "Guess Who I Saw Today" in stunning fashion, playing the role of perspicacious chronicler without falling prey to the past and its expectations. The title track, the first of several numbers plucked from the playlist of the immortal Nancy Wilson/Cannonball Adderley (Capitol Records, 1961), opens on Jared Schonig's lightly dancing brushes before opening up into a tight swinger with hits aplenty from the band. Further explorations into that lodestar recording yield a hip and grooving "Never Will I Marry," featuring some fluid solo work from trumpeter Ingrid Jensen and showcasing a pointed hookup between Schonig and bassist Matt Penman; a "Save Your Love From Me" that distills the essence of the song, pulling every drop of beauty from each floating word, note, and chord; a trip through "The Old Country" that uses Penman's bass as a framing device and segues into "Passion Flower"; and a "Happy Talk" that moves from a drunken state to a solidly swinging environment while putting Jensen's muted horn in the spotlight. This is Kinhan's show in every respect, but she proves eager and willing to share the attention with her band.

Every single song in this collection hits a sweet spot of a different sort, but the most pleasing aspect of the recording is how it uncovers the stripped-down, soulful side of Kinhan's voice. Intentional or not, that's an aspect of her artistry that's been obscured on past productions. But with the raw emotionality of "(You Don't Know) How Glad I Am" now held up as the prime example, it's something that's impossible to forget about it. Add to that some other known and unknown aspects of her work—brilliance in interpreting ballads, off-the-cuff maneuvers in bluesy and bawdy environments, whip-smart interactions with the instrumentalists—and you end up with a complete picture of her talents and the manners in which she claims these songs as her own.

On the surface Kinhan may not appear to be ideally suited for a Wilson tribute. The two vocalists aren't matched in terms of timbre and tactics. But both of these women have a knack for ducking labels—Wilson's been claimed by jazz fans, R&B aficionados, and blues lovers alike, and Kinhan, best known for her work with the artistically broad-minded New York Voices, comes across as a sophisticated, pop-influenced singer-songwriter on her previous solo dates. Each possess chameleonic abilities in the way they present, so therein lies the great connection(s) between the two, cemented for all to hear on A Sleepin' Bee. ~by Dan Belawsky

Personnel: Lauren Kinhan: vocals; Andy Ezrin: piano; Matt Penman: bass; Jared Schonig: drums; Ingrid Jensen: trumpet.

A Sleepin' Bee

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Chuck Israels Jazz Orchestra - Concerto Peligroso

Size: 169,2 MB
Time: 72:59
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Margot's Mood (7:16)
02. Two Degrees East, Three Degrees West (8:06)
03. Fractal Shadows (5:50)
04. Concerto Peligroso (4:45)
05. Delicate Balance (7:28)
06. All The Pretty Horses (5:53)
07. The Sound of Sonny (6:45)
08. Dark Tapestry (4:42)
09. Frankie and Johnny (7:03)
10. Swingin' For The Fences (7:09)
11. Monk's Dream (7:55)

Chuck Israels Jazz Orchestra with guest soloist Dan Faehnle head into Crossroads Studios to record a new album for Dot Time Records called "Concerto Peligroso". Chuck's exquisite and sensitive compositions, including the spectacular mini-concerto for piano "Concerto Peligrosso", will make up the majority of the tracks on the new record. Other highlights will include his arrangement of a beautiful American folk song "All the Pretty Horses", and a tribute to Sonny Rollins called "Sound of Sonny" based on the saxophone colossus' solo on the tune "Toot, Toot, Tootsie, Goodbye".

Chuck Israels is a composer/arranger/bassist who has worked with Billie Holiday, Benny Goodman, Coleman Hawkins, Stan Getz, Herbie Hancock, J.J. Johnson, John Coltrane, and many others. He is best known for his work with the Bill Evans Trio from 1961 through 1966 and for his pioneering accomplishments in Jazz Repertory as Director of the National Jazz Ensemble from 1973 to 1981.

Among Chuck's many recordings as a bassist, some outstanding ones include: Coltrane Time, with John Coltrane; My Point of View, with Herbie Hancock; Getz au Go-Go, with Stan Getz; and many recordings with the Bill Evans Trio, including The Town Hall Concert; The Second Trio; Trio '65; Live at the Trident; Time Remembered; and Live at Shelley's Manne Hole.

Recently retired from directing the jazz studies program at Western Washington University, Chuck has moved to Portland, OR to work in its vibrant jazz community and participate in his favorite Northwest city’s cultural life.

Concerto Peligroso

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Lina Nyberg - Terrestrial

Size: 120,8+100,5 MB
Time: 51:47+39:37
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

CD 1:
01. Milky Way (Feat. Norrlands Operan Symphony Orchestra) (6:01)
02. The Planet (Feat. Norrlands Operan Symphony Orchestra) (7:38)
03. Gravity (Feat. Norrlands Operan Symphony Orchestra) (5:49)
04. The Electra (Version For Symphony Orchestra) (Feat. Norrlands Operan Symphony Orchestra) (6:43)
05. Another World (Version For Symphony Orchestra) (Feat. Norrlands Operan Symphony Orchestra) (5:14)
06. Terrestrial I (Feat. Norrlands Operan Symphony Orchestra) (7:45)
07. Terrestrial II (Feat. Norrlands Operan Symphony Orchestra) (6:57)
08. Terrestrial III (Oh Humanity) (Feat. Norrlands Operan Symphony Orchestra) (5:38)

CD 2:
01. Lazy Afternoon (7:09)
02. Everyone Sang (3:42)
03. Undiu (5:43)
04. Entropia (6:46)
05. Ingrid (4:44)
06. Canto De Ossanha (7:14)
07. Another World (4:16)

In the fall of 2017 the final majestic part of Lina Nybergs astonishing album trilogy about humanity, the world and music itself is to be released – “Terrestrial”. Lina has composed and arranged music for symphony orchestra (and her band) on commission from the NorrlandsOperan Symphony Orchestra in Umeå. The piece will have it’s first live performance at Umeå Jazz Festival in October 2017.

Lina Nyberg is one of Sweden’s most creative and innovative jazz singers. For about 20 years she has been attracting consistent and widespread attention, starting with the debut in 1993 with the duo CD “Close” together with late pianist Esbjörn Svensson until now, about to release her 17th album. Since 2013 Lina has been working on this trilogy of albums, composing new music about our planet and the elements for different kinds of settings, exploring the art of instrumentation. In 2014 part one was released – “Sirenades” (music for big band and jazz quintet) and 2016 part 2 “Aerials” (music for string quartet and jazz quintet).

Terrestrial CD 1
Terrestrial CD 2

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Freddie Hubbard - Open Sesame

Styles: Trumpet Jazz
Year: 1988
File: MP3@320K/s
Time: 53:38
Size: 124,3 MB
Art: Front

(7:13)  1. Open Sesame
(6:28)  2. But Beautiful
(6:24)  3. Gypsy Blue
(5:36)  4. All Or Nothing At All
(6:03)  5. One Mint Julep
(7:02)  6. Hub's Nub
(7:19)  7. Open Sesame (Alt Tk)
(7:29)  8. Gypsy Blue (Alt Tk)

Open Sesame (1960) was Freddie Hubbard’s first record as a leader. If it was his only record it would be legendary, but within two years he had recorded four better ones. What raised the other records above Open Sesame was the drummers: Philly Joe Jones, Elvin Jones, and Louis Hayes. There is nothing wrong with Clifford Jarvis he swings, he interacts with the other players, and he fits the band’s conservative concept. But on his best records Hubbard fed off his drummer’s energy. That does not happen here. According to the liner notes Tina Brooks was studying with Jackie McLean at the time of this session, and he does mirror McLean’s penetrating, bluesy sound. He solos with logic and passion but without McLean’s fire and edge. As a writer Brooks contributes the two best tunes of the session: “Open Sesame,” a close relative to Sonny Rollins’ “Airegin”, and “Gypsy Blue,” a blues that inspires Hubbard. The ballad “But Beautiful” is nothing special. Hubbard doesn’t do much with it (Brooks does.), but like the other cuts it gives the listener a taste of Hubbard’s upcoming brilliance in the genre. ~ Craig Jolley https://www.allaboutjazz.com/open-sesame-freddie-hubbard-blue-note-records-review-by-craig-jolley.php?width=1920 

Personnel: Freddie Hubbard: trumpet; Tina Brooks: tenor sax; McCoy Tyner: piano; Sam Jones: bass: Clifford Jarvis: drums.

Open Sesame

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Marcela Monreal - Fine And Mellow

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 46:18
Size: 106,4 MB
Art: Front

(3:40)  1. Embraceable You
(4:33)  2. Love You Madly
(3:06)  3. Wave
(3:18)  4. If I Give My Hear To You
(3:45)  5. Deep Purple
(3:44)  6. Samba Da Minha Terra
(3:32)  7. As Time Goes By
(3:38)  8. Fine And Mellow
(4:40)  9. Ruby, My Dear
(3:32) 10. I'm Just A Lucky So And So
(3:32) 11. Summertime
(5:11) 12. What A Wonderful World

Marcela Monreal Born in the city of La Plata. He is a professor of English Language and Literature at the University of La Plata. He performs piano, percussion and singing studies at the "Gilardo Gilardi Conservatory. In his artistic activity he performed an intense task, acting as soloist of various choral groups, under the direction of the maestro Orient Monreal, in his turn as assistant director. He is part of the vocal group "Octeto Siglo XX", under the direction of Prof. Eric Oña. In 1987 she joined the group "Multiplus", working in Bs. As., As a vocalist until 1989. That year she participated as a solo singer in several jazz shows, organized in Room 420, in the city of La Plata, next to Tato Finocchi, Pablo Ledesma, Hugo Marino, Martin Cairo, Quique Roca and others.

In 1990, she participated alongside the female vocal group "Bubbles", from the musical comedy Burbujas en Radio, by Ricardo Ibarlín, who remained on the stage during that year and came on stage at the Empire Theater in Buenos Aires, with a good critique of media. In 1992 and until 1994 he joined the group "Saxología", with Enrique Mayer, Pablo Ledesma, Luis Castillo, and others, acting in La Plata, Bs. As. And several localities of the Province of Buenos Aires. Jazz in April (festival that takes place annually in Mar del Plata) and Jazz in Tandil, in the year 1992. In the year 1994 he joins the jazz quartet La Plata which leads Mingo Martino together with which he performs a series of recitals: La Silver Jazz Festival. In the years 1995 and 1996 next to the Quartet participates of the recording of the Totum CD and the flute Pablo Sertqueque, that reunites to diverse platense musicians. Since 1997 he has been a member of Aquarela, a group led by Tato Finocchi, along with Horacio Amoretti and Julio Campos, playing Brazilian music and jazz. In 1998 he participated as a vocalist in performances with Pablo Ledesma and Pepe Angelillo. That same year he recorded his first CD as a Jazz soloist. In 1999 he presented his CD in the National Library. In October he participated together with the Jazz Quartet La Plata at the Cabrales Jazz Festival in the city of Mar del Plata. ~ Translate by Google

Fine And Mellow

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Cecil Payne - The Connection

Styles: Saxophone Jazz 
Year: 1962
File: MP3@320K/s
Time: 30:46
Size: 70,7 MB
Art: Front

(4:53)  1. Stop and Listen
(5:48)  2. Born Again
(4:07)  3. Dear People
(5:38)  4. Kenny's One
(3:20)  5. Sister Carol
(3:38)  6. Mighty Fine Wine
(3:20)  7. It's Your Life

The Connection was an off-Broadway play that centered around a number of dope addicts waiting to score a fix from their dealer, with a musical score contributed by pianist Freddie Redd. After Redd recorded an album for Blue Note and left the production, baritone saxophonist Cecil Payne and pianist Kenny Drew composed songs for a brand new score, with Payne taking over Redd's duties providing music for the play. Payne expanded to a sextet from a quartet for his LP (issued by the Charlie Parker label), though his recording has been unjustly overlooked. Joined by Clark Terry and Bennie Green in the front line, and a rhythm section consisting of Duke Jordan, Ron Carter, and Charlie Persip, Payne's album also has much to offer. While it is difficult to conceptualize what the play was like by just listening to this recording, the music stands on its own. All of the musicians shine throughout the sessions. Though Payne is a fine soloist, Terry's almost conversational solos tend to steal the show. Long out of print, this excellent disc will likely be found only on jazz auction lists. ~ Ken Dryden http://www.allmusic.com/album/the-music-from-the-connection-mw0000902716

Personnel:  Baritone Saxophone – Cecil Payne;  Bass – Ron Carter;  Drums – Charlie Persip;  Piano – Duke Jordan;  Trombone – Bennie Green;  Trumpet – Clark Terry

The Connection

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Eric Le Lann Acoustic Quartet - Today I Fell In Love

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 70:53
Size: 165,5 MB
Art: Front

( 9:01)  1. Today, I Fell In Love
( 5:47)  2. Unknown Tower
( 6:35)  3. Is It Wonderland
( 9:55)  4. My Funny Valentine
( 7:05)  5. Le Bleu D'Hortense
( 9:23)  6. 429 Rue Paradis
(11:50)  7. I Fall In Love Too Easily
( 7:13)  8. So What
( 2:55)  9. The Theme
( 1:04) 10. Lola

Born in Brittany , Éric Le Lann moved to Paris in 1977, where he began his career as a professional musician. In 1979 he won the first prize in the national jazz competition of La Défense in Paris . At the age of 11, Eric Le Lann appeared on stage along with Bill Coleman , Claude Luter , and Stephane Grapelli , and was already playing with professional insurance. In April 1978, at the age of 20, he recorded his first LP, Jazz West Coast , Jazz Group of Brittany alongside Christian Hillion (saxophone), Pierre Goasguen (trombone), René Goae (piano), Gilles Gourmelon and Yvon Le Guen (bass) and Philippe Briand (drums), recorded at the Jazz Club La Potinière in Morgat (29) on the initiative of Gérard Le Bourdiec , manager of the establishment. Lann was influenced by Clifford Brown . He performed in René Urtreger's quintet alongside Jean-François Jenny-Clark , Aldo Romano and Jean Louis Chautemps , as well as with the quartet of Henri Texier with Bernard Lubat on drums . He also toured with Henri Salvador , as well as with Bernard Lavilliers (he appears in his live triple disc, Live Tour 80 ). He made a series of concerts with Pepper Adams in 1981 and then joined Patrice Caratini's onztet as well as Martial Solal's big band, where he participated in many jazz festivals in Europe ( The Hague , Prague , Pori , Montreux , Berlin ). He then went on to produce his own quartet with André Ceccarelli , Cesarius Alvim and Olivier Hutman in 1982. The following year he was awarded the Django-Reinhardt Prize by the Jazz Academy and participated in the European Radio Festival in Stockholm . He joins the trio Texier - Jeanneau - Humair during a tour in India . In 1985 he plays in the film of Bertrand Tavernier Around midnight with Dexter Gordon , Herbie Hancock and Billy Higgins . At the same time, he composed the music of Didier Haudepin Elsa, Elsa with François Cluzet and Lio , and then the music of Benoît Jacquot's film Corps et biens with Lambert Wilson and Dominique Sanda . 

He recorded the album I Mist You in quartet with Tony Rabeson on drums and performed in different festivals (Nice, Porto, Lisbon, Nancy, Paris, etc.). In 1989, he created a jazz fusion orchestra, including Louis Winsberg on guitar, Paco Séry on drums and then in New York recording with Mike Stern , Eddie Gómez and Mino Cinelu on New York . Many concerts will take place in France, Asia (Philippines, Thailand, Borneo, Java, Sumatra, Bali) and in India, Nepal, Algeria, Morocco before recording a disc of songs of Édith Piaf and Charles Trenet with an orchestra composed of 35 musicians, arranged by Martial Solal . From 1992 to 1995, he performed with various ensembles in Eastern Europe (Bulgaria, Romania, Greece) in West Africa (Senegal, Côte d'Ivoire, Mali, Niger, Cameroon, Togo, Benin) Southern Africa (Rwanda, Mauritius, Seychelles, Abidjan) in Israel (Eilat festival, Tel Aviv) and in Portugal and France. He has been performing since 1998 in duet with Martial Solal, in quintet with Archie Shepp or with his own quartet. With him he played at the European festival in New-Dehli and then a series of concerts in India and the Middle East (Sudan, Iraq, Yemen, Syria, Jordan). He composed in 1999 the music of the film of Gilles Bourdos Disparus with Anouk Grinberg , then the music of a documentary of Valérie Stroh on Simone de Beauvoir for France 3 in a century of writer. He plays as soloist in the soundtrack composed by Martial Solal of the film of Bertrand Blier The Actors . He founded and directed the École de création musicale in Rennes, then moved it to Dinan in 2003. He participates in the album of Henri Salvador Room with view . In 2001, he participated in the festivals of Abidjan and Tunis with Archie Shepp as well as many concerts in duet with Martial Solal . He participated in the play of Jean-Bernard Pouy 54 × 13 with the actor Jacques Bonnaffé , given at the theater of the Bastille . In June 2001, he won the Critics' Grand Prize for Best Stage Musical Composition of the Year. He composes and arranges Origines , a work for 25 musicians at the Inter Celtic festival in Lorient, which he performed on 3 August 2002, recorded in 2004 with Manu Lann Huel and Marthe Vassallo . In 2007, the year of his fifty years, released Le Lann Top , published on the label Nocturne , fusion of jazz and electro . It is the result of a meeting between the trumpet of Le Lann and rock bass Jannick Top , joined by Lionel Loueke on guitar and Damien Schmitt on drums. In 2007 and 2008, the Lann Top quartet performed on numerous stages, supported by samples and sequences managed by Fabien Colella , the fifth man in the band. Guitarists such as Jim Grandcamp , Jean-Marie Ecay and Nelson Veras , and drummers Damien Schmitt and Thierry Arpino are joined by the two leaders. In 2013, he paid tribute to Chet Baker , and recorded I Remember Chet , along with Nelson Veras and Gildas Boclé , using the trumpet-guitar-double bass trio formula Chet Baker was particularly fond of at the end of his career. In 2015, he released the album Life on Mars with Paul Lay , Sylvain Romano and Donald Kontomanou , he was awarded the Charles Cros Academy Award.

Personnel:  Eric Le Lann (trumpet), Jean-pierre Arnaud (drums), Eric Legnini (piano), Rémi Vignolo (bass),

Today I Fell In Love

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Bert Kaempfert & His Orchestra - Golden Memories

Styles: Jazz, Big Band
Year: 1975
File: MP3@320K/s
Time: 40:25
Size: 95,0 MB
Art: Front

(3:15)  1. Love Walked In
(3:10)  2. Fats In The Fire
(3:59)  3. All The Things You Are
(3:18)  4. Golden Memories
(2:31)  5. Choo Choo Ch'Boogie
(3:58)  6. The More I See You
(3:10)  7. Ghostriders Of Gulag
(3:48)  8. Bert's Bolero
(3:18)  9. C'est Si Bon
(3:15) 10. Some Other Day, Some Other Time
(3:16) 11. My Guy's Come Back
(3:20) 12. Today's My Day

Bert Kaempfert had almost too much talent, ability, and good luck rolled into one career to be fully appreciated, even by his own chosen audience, the lovers of fine orchestral pop music. He was one of the most successful conductors, arrangers, and recording artists in the latter field, but was also a major producer and played a key (if indirect) role in the roots of the British beat boom of the early '60s, which evolved into the British Invasion of America in 1964. Berthold Kaempfert was born in Barmbek, a working-class section of Hamburg, Germany, in 1923. He was musically inclined as a boy, and found that interest indulged by an act of fate when he was six years old Kaempfert was injured in a car accident and his mother used the money from the settlement to buy him a piano. He became proficient at the keyboard, and also on the clarinet and saxophone, among other instruments. He studied at the Hamburg Conservatory and although he was interested in all facets of music, Kaempfert was particularly taken with American-style big-band music of the late '30s and early '40s his multi-instrumental skills made him a potentially valuable commodity, and he was recruited into a pop orchestra run by Hans Bussch while in his teens, but was later drafted and served as a bandsman in the German navy, before being captured and interned as an Allied prisoner.

He founded a band of his own and later toured American military installations in Germany, at last able to play his favorite kind of music. Returning to his native Hamburg, he began performing on British Forces Network radio and writing compositions, initially using the alias of Mark Bones. Kaempfert's reputation in Hamburg attracted the attention of Polydor Records, which hired him as an arranger, producer, and music director during the second half of the 1950s. Among the talent that he brought to the company's roster was the Yugoslav pop artist Ivo Robic, who chalked up an international hit (Top 20 in America), and Viennese singer/guitarist/actor Freddy Quinn, who had a German hit with "Die Gittarre und das Meer." His own orchestra generated such hits as "Catalania," "Ducky," "Las Vegas," and "Explorer," but he had bolder, more ambitious music in mind. He arranged, produced, and recorded an instrumental entitled "Wonderland by Night," which was pretty enough but couldn't seem to get a hearing in Germany, even from his own company. Instead, Kaempfert and his wife brought the track to Milt Gabler, the legendary producer at Decca Records in New York, who arranged for its release in America in 1959; with its haunting solo trumpet, muted brass, and lush strings, the single topped the American pop charts and turned Bert Kaempfert & His Orchestra into international stars. Over the next few years, he revived such pop tunes as "Tenderly," "Red Roses for a Blue Lady," "Three O'Clock in the Morning," and "Bye Bye Blues," bringing them all high onto the pop charts internationally, as well as composing pieces of his own, including "Spanish Eyes (Moon Over Naples)," "Danke Schoen," and "Wooden Heart," which were recorded by, respectively, Al Martino, Wayne Newton, and Elvis Presley (with Joe Dowell charting the hit single of "Wooden Heart"); for an old American jazz fan like Kaempfert, however, little may have brought him more personal satisfaction than Nat King Cole recording his "L-O-V-E." more.... ~ Bruce Eder https://www.allmusic.com/artist/bert-kaempfert-mn0000748088/biography

Golden Memories

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