Joachim Kühn - Free Ibiza

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 59:54
Size: 138,0 MB
Art: Front

(5:17)  1. Figuertas
(4:06)  2. Mar Y Sal Nights
(2:11)  3. Casa Nuestro
(3:25)  4. Flamingos At Cap Des Falco
(3:58)  5. Can Masia
(2:46)  6. Free Ibiza Afternoon
(3:25)  7. Es Cavallet
(4:30)  8. August In Ibiza
(2:44)  9. Talamanca
(2:42) 10. Free Ibiza Night
(4:26) 11. Clean Vision
(6:30) 12. Benirras
(3:38) 13. Free Ibiza Early Morning
(3:58) 14. Salinas Waves
(2:33) 15. Eirissa
(3:37) 16. Moment Of Happiness

Like the spectacular bouffant hairstyle he s sported since the 1970s, pianist Joachim Kuhn s music is at home in two, generally discrete traditions: intellectually rigorous, harmonically complex, longhair conservatoire music and a less cerebral strand of world jazz driven by vamps and grooves. ~ All Music Guide  https://www.amazon.com/Free-Ibiza-Joachim-Kuhn/dp/B005IQXTRC

Personnel: Joachim Kühn (piano).            

Free Ibiza

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Brian Charette - Backup

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 66:16
Size: 153,0 MB
Art: Front

(5:49)  1. Tadd's Delight
(7:43)  2. Chelsea Bridge
(7:24)  3. A Shade Of Jade
(5:49)  4. Backup
(5:55)  5. The Blessing
(5:47)  6. Dance Of The Infidels
(6:43)  7. Spring Is Here
(6:25)  8. Daahoud
(5:23)  9. These Are Soulful Days
(9:14) 10. Ritha

Brian Charette's a contemporary organist who's always out to set himself apart from most of the rest not by forcing any sort of experimental modes on the Hammond, or by trying to race up and down the keys but just by relaxing into a tune, and really finding a way to deliver a performance that's clear and crisp, yet undeniably soulful! Whereas other younger Hammondists might be driven to work in the territory of the Jimmys McGriff and Smith or Jack McDuff Charette's almost got more of the understated quality of Shirley Scott, especially on a trio date like this. Brian keeps his tone nicely in check always playing with these round, fully-formed notes even on material by artists like Larry Young or Joe Henderson and he's balanced out here by the piano of Henry Hay and drums of Jochen Rueckert, in a way that uses the piano to almost underscore and echo the lines of the organ. Titles include "The Blessing", "Backup", "A Shade Of Jade", "Tadd's Delight", "These Are Soulful Days", and "Dahoud".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/859854/Brian-Charette:Back-Up

Personnel:  Brian Charette - Hammond organ; Henry Hey - piano;  Jochen Rueckert drums

Backup

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Budd Johnson - Ya! Ya!

Bitrate: MP3@320K/s
Time: 42:14
Size: 96.7 MB
Styles: Saxophone jazz
Year: 1999
Art: Front

[9:57] 1. Ya! Ya!
[7:30] 2. In A Mellowtone
[4:36] 3. The Best Things In Life Are Free
[5:16] 4. Body And Soul
[3:10] 5. B&B Blues
[4:02] 6. I Can't Believe That You're In Love With Me
[7:41] 7. I'll Be Seing You

Mighty tenor from the great Budd Johnson – an album titled with a similar name to one of his Chess Records sessions – but done in a very different vibe! This set has an easygoing swing to it – that timeless approach that made the Black & Blue label material feel classic, even at the time of its release – and which has only made the label's productions sound better and better over the years! Budd's got lots of room to stretch out and blow in his solos – as does Charlie Shavers on trumpet, and Andre Persiany on piano – working here in a quintet with Roland Lobliegois on bass and Oliver Jackson on drums. The set's worth it alone for the ten minute title track "Ya Ya" – and other titles include "Body & Soul", "I'll Be Seeing You", "The Best Things In Life Are Free", and "In A Mellowtone". CD features unissued bonus tracks "I Can't Believe That You're In Love With Me" and "B&B Blues"

Ya! Ya!

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Blue Ensemble - In A Sentimental Mood

Bitrate: MP3@320K/s
Time: 37:38
Size: 86.2 MB
Styles: Dixieland
Year: 2016
Art: Front

[4:34] 1. In A Sentimental Mood
[5:35] 2. All Blues
[4:36] 3. Footprints
[3:24] 4. Stella By Starlight
[3:38] 5. So What
[3:53] 6. Blue Bossa
[4:14] 7. Autumn Leaves
[3:49] 8. Just Friends
[3:51] 9. Bluesette

In A Sentimental Mood

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Lenore Raphael - A Beautiful Friendship

Bitrate: MP3@320K/s
Time: 64:17
Size: 147.2 MB
Styles: Piano jazz
Year: 2005
Art: Front

[5:48] 1. A Beautiful Friendship
[9:12] 2. I Love You
[8:21] 3. Alone Together
[5:42] 4. Like Someone In Love
[5:54] 5. We'll Be Together Again
[7:44] 6. Stella By Starlight
[6:47] 7. Darn That Dream
[6:43] 8. Jordu
[8:02] 9. Let It Go

Lenore Raphael: piano; Hilliard Greene: bass; Rudy Lawless: drums.

A Beautiful Friendship is a wonderful, swinging mainstream/bebop piano trio album. Pianist Lenore Raphael has the ability to create new tunes out of timeless standards and make them fresh and her own. The album title reflects the relationship between the musicians. The interplay between the piano, bass and drums tells us that these are three people who have worked together often and enjoy the ride. Ballads are pure emotion; up tempo tunes are swinging and full of joy.

A Beautiful Friendship

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Claudio Roditi - Impressions

Bitrate: MP3@320K/s
Time: 69:26
Size: 158.9 MB
Styles: Trumpet jazz
Year: 2007
Art: Front

[6:29] 1. Moment's Notice
[6:41] 2. Naima
[6:26] 3. Impressions
[7:15] 4. Bye Bye Blackbird
[7:53] 5. The Monster And The Flower
[6:47] 6. Bossa Do Brooklyn
[9:36] 7. Speak Low
[6:57] 8. A Ra
[4:10] 9. Giant Steps
[7:06] 10. Come Rain Or Come Shine

Claudio Roditi's 2006 return trip to his native Brazil prompted this recording session, which draws extensively from John Coltrane's repertoire and adds a few originals. Joined by saxophonist Idriss Boudrioua (who doubles on alto and soprano), pianist Dario Galante, bassist Sergio Barroso, and drummer Pascoal Mereilles, Roditi sticks to trumpet for the entire date. Opening with three straight Coltrane compositions is a challenge that's successfully met by the quintet. "Moment's Notice" and "Impressions" add a lively samba groove underneath the horns, while Boudrioua switches to soprano for the shimmering take of the timeless ballad "Naima." Roditi adds a mute for a lighthearted take of "Bye Bye Blackbird," propelled by a soft samba rhythm and Boudrioua's subdued alto. The trumpeter's originals include the playful bossa nova "The Monster and the Flower" and the sauntering "Bossa do Brooklyn," which sounds as if it were inspired by girl-watching on clear spring day. "Giant Steps," the final Coltrane composition played on the session, is taken at a relaxed tempo. There's never a dull moment during this enjoyable meeting. ~Ken Dryden

Impressions

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Maxine Sullivan - Swing Street: Original 1931-1939 Recordings

Bitrate: MP3@320K/s
Time: 65:51
Size: 150.8 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:52] 1. Loch Lomond
[2:21] 2. I'm Coming Virginia
[2:37] 3. Annie Laurie
[2:58] 4. Betsy Blue Skies
[2:42] 5. Mighty Like The Blues
[2:36] 6. Woo-Woo
[2:56] 7. Hot String Bean
[2:49] 8. Jim Jam Stomp
[3:18] 9. I'm Crazy 'bout My Baby
[3:17] 10. Dragging My Heart Around
[2:32] 11. The Joint Is Jumpin'
[2:23] 12. Off Time
[2:36] 13. Choo-Choo
[2:48] 14. The Wail Of The Scromph
[2:42] 15. Swing Boy Swing
[2:13] 16. Poor Robinson Crusoe
[3:09] 17. Call Of The Delta
[2:47] 18. Shanghai Shuffle
[2:56] 19. Harlem Boogie
[2:31] 20. After Tonight
[2:30] 21. Don't Wake Up My Heart
[2:54] 22. Where In The World
[2:41] 23. In Any Language
[2:33] 24. Rosie The Redskin

Maxine Sullivan (vocals), John Kirby (double bass), Frank Newton (trumpet), Buster Bailey (clarinet), Claude Thornhill (piano), O'Neill Spencer (drums), Pete Brown (alto saxophone), Babe Russin (tenor saxophone), Lou Hurst (vocals), Joe Marsala (clarinet), Jack LeMaire (vocals), Ray Biondi (violin), Fats Waller (piano), Myra Johnson (vocals), Honey Bear Sedric (clarinet), Dick Porter (vocals), Jimmy C. Johnson (trombone), Midge Williams (vocals), Honey Bear Sedric (vocals) Joe Marsala Chicagoans, Sedric and his Honey Bears, Dick Porter Orchestra, Seven Chocolate Dandies, Jimmy Johnson Orchestra, Midge Williams Jazz Jesters.

Maxine Sullivan, born Marietta Williams in Homestead, Pennsylvania, was an American jazz vocalist and performer. As a vocalist, Maxine Sullivan was active for half a century, from the mid-1930s to just before her death in 1987. She is best known for her 1937 recording of a swing version of the Scottish folk song "Loch Lomond". Throughout her career, Sullivan also appeared as a performer on film as well as on stage. A precursor to better-known later vocalists such as Ella Fitzgerald, Billie Holiday, and Sarah Vaughan, Maxine Sullivan is considered one of the best jazz vocalists of the 1930s.

Swing Street: Original 1931-1939 Recordings

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Katie Melua - Ketevan

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 40:24
Size: 102,4 MB
Art: Front

(4:14)  1. Never Felt Less Like Dancing
(5:03)  2. Sailing Ships From Heaven
(3:02)  3. Love Is A Silent Thief
(2:59)  4. Shiver Ans Shake
(3:35)  5. The Love I'm Frightened Of
(3:38)  6. Where Does The Ocean Go?
(3:35)  7. Idiot School
(3:23)  8. Mad, Mad Men
(3:43)  9. Chase Me
(2:48) 10. I Never Fall
(4:18) 11. I Will Be There

Having reunited with her longtime mentor, former Wombles singer/songwriter Mike Batt, for her 2012 symphonic album, Secret Symphony, vocalist Katie Melua continues in an orchestral vein with her sixth studio album, 2013's Ketevan. Much like its predecessor, Ketevan is a languid, often cinematic-sounding album that builds upon Melua's talents as an interpreter of other people's material as well as her own songs. Having taken a creative detour to work with electronic producer William Orbit for 2010's The House, Melua once again returns to her roots as Batt's protégée. Raised in the Eastern European state of Georgia, Melua moved with her family to England when she was eight. Batt discovered the then 19-year-old Melua while she was attending the Brit School of Performing Arts in 2003. Subsequently, they have worked together on most of her albums. Taking its title from Melua's Georgian birth name, Ketevan features songs and arrangements from Batt, as well as contributions from his son Luke Batt. Melua also earns a handful of co-writing credits herself, as on the sinewy "Love Is a Silent Thief" and the '60s-influenced torch song "Chase Me," both of which beautifully showcase her crystalline technique and softly soulful style. As with other Melua/Batt productions, Ketevan also serves as a vehicle for Batt to flex his melodic skills as a songwriter and arranger. A veteran of '70s bubblegum pop, Batt has also experimented with rock opera and adult contemporary music, all of which he brings to bear on his work with Melua. Here, he frames Melua's voice in grand, sweepingly romantic arrangements on songs like "Sailing Ships from Heaven" and "I Will Be There," which sound something like Kate Bush singing Scott Walker compositions. Similarly, the Melua/Mike Batt/Luke Batt-composed "Where Does the Ocean Go?" is an ambitious folk-inflected epic inspired by poet Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." Fluid and utterly gorgeous, Ketevan is a unique and delicate vessel. ~ Matt Collar https://www.allmusic.com/album/ketevan-mw0002558370

Personnel:  Katie Melua – vocals;  Tim Harries – bass;  Mike Batt – piano, accordion, harmonium, backing vocals;  Dan Hawkins – bass;  Luke Batt – guitar, piano, drums, percussion;  Joe Yoshida – drums;  Henry Spinetti – drums, percussion

Ketevan

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Ramsey Lewis - Funky Serenity

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 48:02
Size: 111,5 MB
Art: Front

(5:17)  1. Kufanya Mapenzi (Making Love)
(5:22)  2. If Loving You Is Wrong I Don't Want to Be Right
(2:40)  3. What It Is!
(5:12)  4. My Love for You
(5:35)  5. Nights in White Satin
(4:09)  6. Serene Funk
(9:36)  7. Dreams
(5:08)  8. Betcha by Golly Wow!
(4:58)  9. Where Is the Love

Cleveland Eaton, Ed Greene, and Morris Jennings accompany Ramsey Lewis on this commercial-flavored 1973 release. While jazz/pop/soul versions of "Where Is the Love" and "If Loving You Is Wrong" come off limp, spacy renditions of "Nights in White Satin"; Eaton, Jennings, and Lewis' two compositions, "Serene Funk" and "Dreams"; and a beautiful interpretation of Thom Bell and Linda Creed's "Betcha by Golly Wow" make this an enjoyable and essential reissue. Originally issued on Columbia Records (1973). 

~ Andrew Hamilton https://www.allmusic.com/album/funky-serenity-mw0000010670  

Personnel: Ramsey Lewis (piano, Fender Rhodes piano, Wurlitzer piano, electric harpsichord); Ed Green (electric violin, percussion); Cleveland Eaton (bass, percussion); Morris Jennings (drums, conga, percussion).   

Funky Serenity

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George Cables - In Good Company

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 62:28
Size: 150,3 MB
Art: Front

(8:39)  1. After The Morning
(5:04)  2. Mr. Anonymouse
(6:52)  3. Naima's Love Song
(4:36)  4. It Don't Mean A Thing (If It Ain't Got That Swing)
(8:17)  5. Lotus Blossom
(6:29)  6. Love You Madly
(6:24)  7. EVC
(8:13)  8. Lush Life
(5:57)  9. Voyage
(1:54) 10. Day Dream

George Cables’ title refers first to the pianist-composers he covers-John Hicks, Kenny Barron, Ellington and Strayhorn-and second to his trio with bassist Essiet Essiet and drummer Victor Lewis. The album’s a cheery swinger, an exemplar of mainstream piano jazz. In short, the kind of record Cables always makes. But it’s his accompanists, and Victor Lewis in particular, that earn the titular salute. Essiet records semi-regularly with Cables, and evinces an ability to disappear inside the pianist’s rich left-hand chords and the architecture and tenderness of his touch, as on Hicks’ “After the Morning” and Ellington’s “Love You Madly.” But Lewis has been with Cables for 15 years, and the album’s second track, Cables’ “Mr. Anonymouse,” plainly shows why. A bass ostinato bears down as Cables barrels over it with speedy single-note lines; underneath, Lewis lays out a cymbal-and-kick locomotion that’s preternaturally steady. If the pianist is a runaway train, the drummer lays down tracks for it in real time. Lewis’ fingerprints are everywhere on In Good Company. His frequent accents shape Cables’ “EVC” almost singlehandedly, and the upshot of rendering Strayhorn’s poignant “Lotus Blossom” midtempo is to establish the ride cymbal as a playful foundation for Cables’ improvisation. (It also gives Essiet a chance to shoot the breeze.) Lewis gets his own snappy solos on “It Don’t Mean a Thing” and Kenny Barron’s “Voyage,” and space for his brushwork on “Lush Life” and “Day Dream.” The pianist shouldn’t get short shrift; his lithe but thoughtful fingerings uplift every corner of In Good Company, and provide occasional surprises like the Monk-esque glissandi on “Lotus Blossom” and subtle syncopation breakdowns on “Naima’s Love Song.” Lewis simply shows himself to be Cables’ equal-surely the best of company. ~ Michael J.West https://jazztimes.com/reviews/albums/george-cables-in-good-company/

Personnel: George Cables (piano); Victor Lewis (drums).

In Good Company

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Jay-Tee - Don't Jay Walk

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 61:33
Size: 142,6 MB
Art: Front

( 7:11)  1. Gravity Hill Bounce
( 5:11)  2. Bottom Road
( 4:02)  3. Sticktown
( 4:10)  4. Wolf's Woods
( 2:41)  5. Silence. Piano & Bass
( 7:01)  6. Train Of Thought
( 6:38)  7. Morning Traffic
( 5:14)  8. Magnolia's Vineyard
( 2:24)  9. Black Ships At Sea
( 6:38) 10. Mountgerald Summit
(10:16) 11. Camp Adderstone

Dutch Composer and bassist Jay-Tee Teterissa draws from the jazz fusion tradition, while at the same time being fully aware of the current state of affairs in this music. His list of musical collaborators includes Mike Stern, Danny Gottlieb, David Garibaldi, Tony Royster Jr, Alain Caron, Jan Akkerman and Candy Dulfer. He brings his band Jazzm to create this, his second solo album. I love the energy on ‘Gravity Hill Bounce’. It’s an instrumental which almost immediately goes into a thumbed (not slapped) bass solo. The fretless sound and doubled alto sax line will please Yellowjackets fans and the funky off-the-beat playing will delight fans of Joe Hubbard/Hubbard’s Cubbard. It’s a very high-tech yet soulful sound. It’s the essence of funky fusion very Herbie Hancock! Nice what a great start! ‘Bottom Road’ has an altogether less sunny vibe with waves of dark synthesizer, but it roars off led by Mike Stern’s guitar solo and I’m reminded of the Headhunters old ‘Descending Azzizziuh’. This is nuts! More please! Mike Stern features on the equally dramatic ‘Sticktown’. Again, I’m not about to pigeonhole this track because it opens out into a lovely synthesizer solo, underpinned by some deft snarework. Stern’s own solo is underpinned in its turn by some gorgeous barely-contained funk on the bass. What a sound Jay-Tee gets. There’s some very lyrical bass playing on ‘Wolf’s Woods’ with the guitar sounding much like Casiopea’s Issei Noro (so, good) and a lovely beaten-up Rhodes sound playing the changes. This is a song I know I’ll enjoy more the more I listen.

‘Silence, Piano and Bass’ lets you breathe because it is as simple a performance as it promises to be. Its beauty is that it’s not jazz, classical or progressive rock though it’s a little of all those things. Timeless. I love music with a cinematic feel and ‘Train of Thought’ has that. The production is incredible, with a barely-plucked bass, bass trombone, gentle semi acoustic guitar and whispers of percussion seeming to float in space (that’s apparent using headphones, at least). It’s relaxing but breathtaking all at once. Here’s my summary: it’s the sound of James Bond falling asleep. Percussion opens ‘Morning Traffic’ and as the intensity builds, the soprano sax states the theme clearly. Yellowjackets fans jump on board. Lovers of harmonics on bass, prepare yourselves. As with the previous song, I’m more drawn into a soundscape than into any specific melodic or rhythmic strand. This is hypnotic stuff but, like the rush hour, it slows to a halt and you can heave a sigh. ‘Magnolia’s Vineyard’ is a lovely cinematic piece where the bass takes the melody, which the soprano sax picks up. All the while, almost mystical percussion keeps time. Dreamy doesn’t mean dull certainly it doesn’t here.

Sounding like a lost part of the Apocalypse Now soundtrack, the grand intro to ‘Black Ships at Sea’ keeps us guessing with sounds of Australia, sounds of China, sounds of Hollywood. The central bass figure could almost be from a Celtic folk song. You might think I’m crazy I probably am nuts to try describing music as imaginative as this. ‘Mount Gerald Summit’ starts of in a similarly eerie vein until the bass announces its presence and bounces from slap riff to solo and back effortlessly. There’s a tense fretless bass solo to hammer home the point (if you had forgotten) that in the right hands, the electric bass really can say anything. A warm alto sax picks up the few things that the bass leaves unsaid. The closer ‘Camp Adderstone’ opens with the kind of funk bass I could and sometimes try to – listen to all day. Sax takes the melody and leads the changes too. It’s (dare I say it) the most conventionally funky jazz tune on the album. That is until two minutes in, when it gets funky in a Herbie Hancock way great keys, drums that fly along and pace that will leave you breathless. Five minutes in and you’re in deep chillout mode and loving that too! That lovely electric piano remains centre stage but the mood has completely changed. Weird, listen to this on headphones and the cymbals sound like they’re behind you. Some of these songs have an almost 3D sound. Ahh, I know I’ve mentioned other artists during this review. The music is so creative that I’d find it hard to tell you about it if I had no reference points. The simple fact is that writing this has pushed my own ability to appreciate and to express that appreciation. I’ve enjoyed the challenge - this is a masterwork by a composer/player/producer with a vision. Thank God that in these cautious times such daring music is still being created. http://www.smooth-jazz.de/Chris/Jay-Tee/DontJayWalk.htm

Personnel:  Jay-Tee Teterissa - bass, percussion;  Marcel Latupeirissa - drums;  Mike Stern - guitar;  Martijn van Iterson - guitar;  Alain Caron - freetless bass;  Jeroen van Iterson - keyboards, orchestral arrangements;  Tom Beek - tenor & soprano saxes

Don't Jay Walk

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Bud Freeman, Keith Ingham Trio - Superbud

Bitrate: MP3@320K/s
Time: 59:40
Size: 136.6 MB
Styles: Saxp[hone jazz
Year: 1994/1999
Art: Front

[4:04] 1. Superbud
[5:05] 2. Please
[2:28] 3. Easy To Get
[3:58] 4. Doug's Delight
[3:59] 5. Keeping Myself For You
[4:09] 6. Katie's Blues
[3:44] 7. After Awhile
[2:44] 8. S'wonderful
[4:25] 9. Don't Blame Me
[2:38] 10. Ginger Brown
[3:05] 11. The Way Of The Tenor
[3:38] 12. You Took Advantage Of Me
[2:51] 13. Craz-E-Ology
[3:23] 14. Tea For Two
[3:57] 15. Tillie's Downtown Now
[2:52] 16. Eel Street Blues
[2:32] 17. It Must Be True

The bulk of this CD is a reissue of a 1974 LP put out by the British "77" label featuring tenor saxophonist Bud Freeman (in consistently exuberant form) with pianist Keith Ingham, bassist Pete Chapman and drummer Johnny Armitage; among the highlights are "Please," "'S Wonderful," "You Took Advantage of Me" and "Tea For Two." Although a piano solo by Ingham has been left off, he recorded six additional solos in 1992 of rarely performed Freeman compositions (including "After Awhile," "Craz-e-ology" and "Tillie's Downtown Now") to add to this set. High-quality mainstream jazz that should please pre-bop collectors. ~Scott Yanow

Superbud

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Biréli Lagrène - Standards

Bitrate: MP3@320K/s
Time: 68:52
Size: 157.7 MB
Styles: Guitar jazz
Year: 1992
Art: Front

[6:40] 1. C'est Si Bon
[5:38] 2. Softly, As In A Morning Sunrise
[5:21] 3. Days Of Wine And Roses
[5:58] 4. Stella By Starlight
[5:54] 5. Smile
[4:54] 6. Autumn Leaves
[5:59] 7. Teach Me Tonight
[5:04] 8. Donna Lee
[7:16] 9. Body And Soul
[4:22] 10. Ornithology
[7:12] 11. How Insensitive Insensatez
[4:28] 12. Nuages

This is one of guitarist Bireli Lagrene's better jazz albums of the 1990s. By this time he had pretty much discarded his original Django Reinhardt influence (even on "Nuages" he sounds nothing like Reinhardt) and he took time off from playing rock to perform a dozen familiar standards with bassist Niels Pedersen and drummer Andre Ceccarelli. Lagrene's technique had been admirable from the start and on this studio session his own musical personality was allowed to come to the surface. Highlights include "Softly as in a Morning Sunrise," "Autumn Leaves," "Donna Lee" and "Ornithology." ~Scott Yanow

Standards

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Peggy Lee - The Best Of Peggy Lee

Bitrate: MP3@320K/s
Time: 36:13
Size: 82.9 MB
Styles: Vocal
Year: 2002
Art: Front

[3:19] 1. Lover
[3:15] 2. Be Anything (But Be Mine)
[2:57] 3. Just One Of Those Things
[3:19] 4. Sans Souci
[3:06] 5. Black Coffee
[3:27] 6. Somebody Loves Me
[2:36] 7. Let Me Go, Lover!
[2:24] 8. The Siamese Cat Song
[2:57] 9. Johnny Guitar
[3:18] 10. Mr. Wonderful
[2:34] 11. He Needs Me
[2:56] 12. I Don't Know Enough About You

Peggy Lee was Born Norma Dolores Egstrom in Jamestown, North Dakota, on May 26, 1920. At age four her mother died. Peggy's father, a railroad station agent, remarried but later left home, leaving Peggy's care entrusted to a stepmother who physically abused her. Peggy later memorialized this in the calypso number "One Beating a Day", one of 22 songs she co-wrote for the autobiographical musical "Peg", in which she made her Broadway debut in 1983 at the age of 62. As a youngster Peggy worked as a milkmaid, later turning to singing for money in her teens. While singing on a local radio station in Fargo, the program director there suggested she change her name to Peggy Lee. Peggy's big break came when Benny Goodman hired her to sing with his band after hearing her perform. Peggy shot to stardom when she and Goodman cut the hit record "Why Don't You Do Right?" and went out on her own to record such classics as "Fever", "Lover", "Golden Earrings", "Big Spender" and "Is That All There Is?" - the latter winning her a Grammy Award in 1969. Peggy's vocal style provided a distinctive imprint to countless swing tunes, ballads and big band numbers. She was considered the type of performer equally capable of interpreting a song as uniquely as Billie Holiday, Ella Fitzgerald and Bessie Smith.

The Best Of Peggy Lee

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Slyde Hyde, Pete Christlieb - Late Night Jazz

Bitrate: MP3@320K/s
Time: 66:36
Size: 152.5 MB
Styles: Trombone jazz
Year: 2001
Art: Front

[6:08] 1. It Might As Well Be Spring
[6:10] 2. What Are You Doing The Rest Of Your Life
[5:06] 3. Bewitched, Bothered & Bewildered
[7:04] 4. But Beautiful
[7:41] 5. When I Fall In Love
[6:51] 6. The Very Thought Of You
[6:39] 7. Angel Eyes
[4:22] 8. Lush Life
[6:45] 9. Someone To Watch Over Me
[9:44] 10. I Got It Bad And That Ain't Good

As the album title indicates, this collection of jazz standards, recorded in May 2000, is aimed solely at setting a romantic mood. It does this very well, with 10 tracks lasting about an hour that will provide a great backdrop for an evening of either relaxing or seduction, as you prefer.

Christlieb is only on seven of the tracks, with "Someone to Watch Over Me" being his big feature number. The album really revolves around seasoned studio player Slyde Hyde on trombone and euphonium. Hyde restricts himself to slightly embellished melodies, which set the mood nicely but contrast sharply with the uninhibited improvisations of Christlieb and pianist Tom Ranier. Christlieb fans will enjoy his playing, as always. Many listeners may find Hyde's interpretations too restrained. But if your goal is simply to find jazz music for a romantic evening, this is an excellent choice. ~James A. Vedda

Late Night Jazz

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Ron Carter, Richard Galliano - An Evening With Ron Carter & Richard Galliano

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Accordion jazz, Post bop
Year: 2017
Art: Front

[5:55] 1. Einbahnstrasse
[6:17] 2. Tea For Toots
[5:51] 3. Billie
[5:12] 4. Waltz For Nicky
[5:39] 5. You Are My Sunshine
[4:24] 6. Tango Pour Claude
[4:46] 7. Blues For D.P
[5:38] 8. Aria Libertango
[5:12] 9. Ah, Rio
[5:12] 10. First Trip
[4:43] 11. Bonustrack: It's About Time

A series of duets with Ron Carter and French accordionist Richard Galliano. Not a common jazz instrument, the free-reed sound of the accordion on this recording is both subtle and lovely. Tempos range from ballads to medium, but tend to be on the slow side. Not breakthrough jazz, these duets (recorded live) are refreshing and what all good music should be, just good listening.

Accordion and Bandoneon Virtuoso, Composer. Richard Galliano expresses himself in all musical fields, from classical to jazz. He is nowadays the only accordion player to record for the prestigious classical music label “Deutsche Grammophon”. Richard Galliano has recorded more than 50 albums under his own name and collaborated with an impressive number of artists.

An Evening With Ron Carter & Richard Galliano

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Lannie Garrett - Just For A Thrill

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 48:04
Size: 110,6 MB
Art: Front

(4:12)  1. You Belong To Me
(4:51)  2. Chances Are
(5:42)  3. Our Day Will Come
(4:21)  4. True Love Ways
(3:23)  5. Scotch And Soda
(3:30)  6. Who Will The Next Fool Be
(5:08)  7. Just For A Thrill
(4:20)  8. Amor
(5:02)  9. Beyond The Sea (La Mer)
(4:46) 10. Baby, It's Cold Outside
(2:44) 11. Goodnight My Love

"... a display of elegance and talent...a cornicopia of wonderful sounds..." ~ R. Franks, KUVO 89.3FM

"Lannie is an elegant swinging powerhouse who can make old and new songs sound fresh and always exciting. We love this one." ~ L. Rychner, Recording Magazine

"Lush interpretations of classics by a soulful, seductive singer." ~ J. Bradley, The Denver Post    https://www.amazon.com/Just-Thrill-Lannie-Garrett/dp/B000006KWE

Just For A Thrill

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Matt Bianco - HiFi Bossanova

Styles: Jazz, Smooth Jazz
Year: 2009
File: MP3@320K/s
Time: 55:11
Size: 127,4 MB
Art: Front

(4:22)  1. HiFi Bossanova
(4:42)  2. Lost In You (Revisited)
(4:28)  3. Natural
(4:27)  4. Don't Look Back
(4:31)  5. Always On My Mind
(4:00)  6. The Way I Like It
(4:43)  7. Ba-De-Ah
(3:55)  8. Someone Else's Dream
(4:04)  9. Anna-Marie
(4:13) 10. Angel Divine
(3:51) 11. Matt's Chill
(3:58) 12. Someone Else's Dream (Alternate version)
(3:51) 13. Matt's Chill (Dub version)

Often misconstrued as the stage name of lead singer Mark Reilly, England's Matt Bianco is in fact a jazz-, Latin-, and lounge music-influenced pop outfit. Named to sound like a fictional spy character à la James Bond, Matt Bianco was formed in 1982 by former members of the similarly jazz- and Latin-infused new wave ensemble Blue Rondo a la Turk. Initially, the group featured Reilly, along with Polish vocalist Basia Trzetrzelewska (who would soon find solo fame), keyboardist Danny White, and bassist Kito Poncioni. The band's 1984 debut, Whose Side Are You On?, fared well, landing just shy of the top 30, and featuring several hits including "Get Out of Your Lazy Bed." Following the release of their debut, Matt Bianco added keyboardist Mark Fisher. It was with this expanded lineup that they broke through with their rendition of Georgie Fame's 1965 single "Yeh Yeh." Included on 1986's eponymous Matt Bianco, the song peaked at number 13 on the pop singles charts and stayed there for ten weeks, eventually earning the band a European music award as Best Single. Despite the group's success, Trzetrzelewska and White decided to leave the band to focus on the former's burgeoning solo career. Subsequently, Fisher took over all keyboard duties and longtime backing vocalist Jenni Evans officially jumped on board in place of Trzetrzelewska. 

This version of Matt Bianco made its debut with 1988's Indigo. Produced by Miami Sound Machine's Emilio Estefan, the album peaked at number 23 in the U.K. It also spawned several hits, including "Don't Blame It on That Girl" and "Wam Bam Boogie," which became the number one European club track of 1988. Over the next decade, Matt Bianco found Reilly and Fisher working together primarily as duo with an increasing interest in Latin, electronic, and adult-contemporary sounds. A "best of" compilation appeared in 1990, followed in 1991 by the studio-effort Samba in Your Casa, after which they parted ways with Warner Brothers. In 1994, they returned with their fifth studio-album Another Time, Another Place, followed by 1995's Gran Via, and 1997's World Go Round. Released in 2000, Rico found the band exploring a blend of acid jazz and traditional Cuban rhythms. Partly recorded in Havana at the studio where Ry Cooder recorded with Buena Vista Social Club, the album included "Cha Cha Cuba," which reached the top of the charts in Japan. Echoes followed two years later. In 2004, Reilly reunited with original members Trzetrzelewska and White for Matt's Mood. By 2009's HiFi Bossanova, however, the band had returned to a duo featuring Reilly and Fisher. Hideaway followed three years later. Reilly then re-recorded several Matt Bianco tracks for his 2016 solo EP New Cool Collective. That same year, Fisher died at the age of 57.  In 2017, Reilly returned with the band's 15th studio album, Gravity, featuring contributions from Swedish sax and flute player Magnus Lindgren and members of Jamie Cullum's touring ensemble. ~ Matt Collar https://www.allmusic.com/artist/matt-bianco-mn0000328956/biography

HiFi Bossanova

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Adam Cohen - We Go Home

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 37:01
Size: 86,3 MB
Art: Front

(3:13)  1. Song Of Me And You
(4:20)  2. Too Real
(3:13)  3. We Go Home
(3:26)  4. Put Your Bags Down
(3:27)  5. So Much To Learn
(2:59)  6. Uniform
(2:38)  7. Love Is
(3:50)  8. What Kind Of Woman
(3:56)  9. Fall Apart
(4:25) 10. Swear I Was There
(1:29) 11. Boats

The road to hell is paved with the records of pop stars’ offspring, from Julian Lennon to I Blame Coco. Adam Cohen has the advantage of at least knowing what he’s doing: his fifth album of unshowy singer-songwriter fare occupies similarly confessional territory to that marked out by his father, Leonard. Indeed, Cohenologists will find much to pore over here, as his lyrics frequently address that relationship, and at times appear to be explicitly encouraging comparisons, not least on Fall Apart (“You’ll be hearing his voice, like you’re hearing it now”). It’s a disarmingly bold move, but while We Go Home is an undeniably fine record, it’s not quite good enough to escape Dad’s long shadow.

… we have a small favour to ask. More people are reading the Guardian than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall we want to keep our journalism as open as we can. So you can see why we need to ask for your help. The Guardian’s independent, investigative journalism takes a lot of time, money and hard work to produce. But we do it because we believe our perspective matters because it might well be your perspective, too.  I appreciate there not being a paywall: it is more democratic for the media to be available for all and not a commodity to be purchased by a few. I’m happy to make a contribution so others with less means still have access to information.~ Thomasine F-R. https://www.theguardian.com/music/2014/sep/14/adam-cohen-we-go-home-review-unshowy-leonard-cohen-son

We Go Home

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Gregory Porter - Nat King Cole & Me

Styles: Vocal

Year: 2017

File: MP3@320K/s

Time: 63:00

Size: 148,2 MB

Art: Front

(4:18)  1. Mona Lisa

(4:17)  2. Smile

(3:44)  3. Nature Boy

(2:08)  4. L-O-V-E

(4:29)  5. Quizas, Quizas, Quizas

(4:31)  6. Miss Otis Regrets

(3:11)  7. Pick Yourself Up

(7:45)  8. When Love Was King

(4:33)  9. The Lonely One

(2:49) 10. Ballerina

(3:47) 11. I Wonder Who My Daddy Is

(4:31) 12. But Beautiful

(3:35) 13. Sweet Lorraine

(5:31) 14. For All We Know

(3:44) 15. The Christmas Song

Two-time GRAMMY-winning vocalist Gregory Porter s 3rd Blue Note album, Nat King Cole & Me, is a heartfelt tribute to his idol, the legendary singer, pianist and Capitol recording artist Nat King Cole.

With the help of 6-time GRAMMY-winning arranger Vince Mendoza, the London Studio Orchestra, a core band featuring pianist Christian Sands, bassist Reuben Rogers, and drummer Ulysses Owens, and special guest trumpeter Terence Blanchard on two tracks, Porter revisits some of Cole s most cherished classics such as Mona Lisa, L-O-V-E, Nature Boy & The Christmas Song. ~ Editorial Reviews https://www.amazon.com/Nat-King-Cole-Gregory-Porter/dp/B0753DBSFH               

Nat King Cole & Me

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