Sunday, December 10, 2017

Mario Pavone - Boom

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 52:10
Size: 137,7 MB
Art: Front

(3:40)  1. Julian
(5:56)  2. Not Five Kimono
(6:18)  3. Arkadia
(0:18)  4. Po
(8:43)  5. Bad Birdie
(3:23)  6. Short Yellow
(6:10)  7. Arc
(6:16)  8. Bastos
(6:33)  9. Interior Boom
(4:49) 10. Out and About

Mario Pavone brings in a stripped down version of the band he has worked with in the recent past for Boom. He couldn't have done better than choose these three players. They chip in and put all the pieces together so compactly that it would be hard to imagine any other band reaching in and reacting to the music as marvellously as they have done. With the exception of two tunes from Thomas Chapin, the music was composed by Pavone. There is much that goes on here. To tip the hat to that cliché, Pavone wears a coat of many colours. And thank the stars he does. He writes with an ear for melody, but it is his intuition in adding the breadth and the scope, in the constant reshaping of the song, that makes his music so exceptional. The blues hue "Bastos" mainly through the piano of Peter Madsen as he swerves the phrases in during his conversation with Tony Malaby, whose tenor initially grounds the movement in earthy notes and then takes flight soaring in short thrusts. Malaby turns around and offers soaring, long lines that float in luminous grace on "Arc," a ballad that has an intense emotional core. If one tune has to be chosen to profile the interplay which takes music to a higher plateau, then "Not Five Kimono" serves the purpose well. The tune never settles into a defined groove. The landscape keeps shifting, the drive coming from Matt Wilson, whose time and meter direct the tempo as Malaby dissects and probes on the soprano. The shifting sands of time come on "Arkadia," which opens on a sprightly note, only to deceive. The head stated, Pavone takes over the reins. He makes every note on the bass tell a story, no matter if it comes in single exclamation or in a flurry. And when he gets into the sway, the band grabs on to his leash and goes out with a swinging good time. Finally there's "Out and About," a Chapin tune. Pavone scampers, Malaby jabs before getting linear, form and structure volatile and malleable. Madsen changes that, romping along to Wilson's marching beat before it all goes out on a folksy step-to. And if truth be told, there's never a dull moment! ~ Jerry D'Souza https://www.allaboutjazz.com/boom-mario-pavone-playscape-recordings-review-by-jerry-dsouza.php

Personnel: Mario Pavone--bass; Tony Malaby--tenor and soprano saxophones; Peter Madsen--piano; Matt Wilson--drums

Boom

Kahil El'Zabar - The Ancestors Are Amongst Us

Styles: Jazz, Avant-Garde Jazz 
Year: 2010
File: MP3@320K/s
Time: 61:36
Size: 141,6 MB
Art: Front

(15:17)  1. Ju Ju Call
( 8:57)  2. In the Belly of Now
( 4:58)  3. Dawning of the Aware Ones
( 2:55)  4. Inner Sanctum
(11:23)  5. Hip/Nuss
( 1:06)  6. Ituri Dream
(13:21)  7. Celestial Dance
( 3:35)  8. The Ancestors Are Amongst Us

This is a very special recording of historical importance. The Ritual Trio in it's original configuration (featuring Lester Bowie and Malachi Favors) recorded live in Saafelden in 1987. This recording brings back to life the vibrant sounds of Lester Bowie and Malachi Favors in a way unlike many other recordings that have surfaced since each of their deaths. Since they are playing together and this was during a very active period for the Art Ensemble, they are able to have a stripped down conversation on similar lines with Kahil kind of directing the flow and interpreting this unique musical language in his own way. It is often quite magical. ~ Editorial Reviews https://www.amazon.com/Ancestors-Are-Amongst-Us/dp/B003Y3D5XE        

Personnel:  Bass – Malachi Favors;  Drums – Kahil El'Zabar;  Trumpet – Lester Bowie

The Ancestors Are Amongst Us

Ty Causey - God Is Love

Styles: Vocal, Smooth Jazz
Year: 2017
File: MP3@320K/s
Time: 38:14
Size: 88,0 MB
Art: Front

(4:26)  1. You Love Me For Me
(3:53)  2. We Got To Pray
(4:12)  3. You Took The Fall For Me
(3:59)  4. God Is Love
(3:22)  5. Better On The Other Side
(3:56)  6. Lord Give Me Your Vision
(3:41)  7. God Said Let There Be Light
(3:51)  8. Change Some Thangs
(3:27)  9. I'm Gonna Wait
(3:24) 10. Upside-Down Inside-Out

“Possessing abundant sex appeal, smooth vocal ease and poetic mastery, Causey is catching the attention of a growing fan base.” ~  Jazzreview.com

Mellifluous, enticing, passionate and dexterous - these are superlatives most certainly appropriate for defining the style and sound of acclaimed singer/songwriter, TY CAUSEY. Talented, prolific, and genuine are best in describing who he is. All combined the result unveils an artist that harkens back to the storied crooners of the past, but with a present day sheen that boasts a collage of soul, jazz and R&B. His brand of sensual soul and smooth R&B is winning over a growing number of fans and industry insiders alike on the strength of his five acclaimed CDs causing many to place him amongst the elite R&B vocalists on the scene today. Rooted within a gospel tradition, Causey began his career as many great ones do, singing in the church. The Indiana native’s talent as well as word of his ability would quickly blossom affording him the opportunity to perform with such gospel music icons as James Cleveland, the Hawkins Singers, Shirley Caesar and a host of other notable gospel artists. But because he was also heavily influenced by the sounds of Soul, R&B and Jazz his aspirations went beyond just Gospel. After stints in musical theater, performing on jingles and as lead vocalist with a promising vocal group, Collaboration, which opened for artists such as Glenn Jones, Silk, and Howard Hewett, Causey would ultimately shift his sites to a solo career that proved to be the right choice indeed. During this time of building a solid rep for himself as a consummate live performer, fast becoming known as a local star in is home Fort Wayne and surrounding Indiana area, a series of fateful connections brought him to the attention of noted contemporary jazz saxophonist, Najee while there for a tour performance. So impressed with a demo of Causey’s, Najee quickly invited him to California to work on his next project. That project ultimately became Najee’s Verve Records release, MORNING TENDERNESS and Causey would not only be a featured vocalist on the CD, co-writing several of it’s tracks, but he would also fill that spot on the subsequent worldwide tour which had him sharing the stage with other artists such as Pieces Of A Dream, Norman Brown and more. This great opportunity introduced him to a number of eventual fans of his style and sound. Needless to say the enthusiastic response he received while on the tour with constant queries as to whether or when his own project would be available encouraged Causey upon his return home to set his sites on answering those questions.

Taking his time, fuelled by the desire to release a quality project, he tested the tricky waters of the music industry with a few EPs and then ultimately released his aptly titled full-length debut, N-TYSING in 2004. The winning collection that featured guest spots from saxophonist Najee and bassist Nelson Braxton of the jazz duo Braxton Brothers drew enthusiastic reviews and found its way to the playlists of radio programs in both the U.S and abroad including the UK, Japan and Germany. Even though the availability of this great release was unfortunately and abruptly cut short the resulting exposure gave notice to an engaging new voice with the timeless qualities and flair of renowned R&B/Soul singers moving many to still include N-TYSING on several “best of” lists for 2004. Because of the renewed attention brought about by his excellent 2005 follow-up project, LOVE NOTES, which also received worldwide acclaim including a Male Vocalist of the Year nomination from #1 online soul music resource, SOULTRACKS.COM, Causey re-released his debut, aptly titled N-TYSING REKINDLED, boasting a brand new look and two new bonus tracks not on the original picking up the excitement right where it left off. Causey has since released three more solid projects with several tracks that are also enjoying increased airplay and exposure on both conventional and alternative radio formats. There is EXPRESSIONS, which was considered by many to be his strongest and is to date, his most successful. It currently holds a solid position as one of premier on-line music retailers, CDBaby.com’s top selling Urban/R&B: Smooth Soul albums and helped to garner another Male Vocalist of Year nomination in 2007 from Soultracks.com which wrote in it’s review of the release, “Ty Causey has taken a strong, creative turn on Expressions that should provide ample material for both smooth jazz and UAC radio to highlight for some time. It should also accelerate his growth as one of the most enjoyable adult soul singers around.” SmoothJazz.com also wrote, “Causey is an extraordinarily talented producer/singer/songwriter who has got to be one of the brightest new stars of the smooth jazz, R&B, and sensual soul genres . . . EXPRESSIONS is the album that should move Mr. Causey right to the top of the pack, where he certainly belongs.” Following that was the limited edition CD BODY LANGUAGE, a collection of previously unreleased material that was initially only available at select live performances, but in response to enthusiastic requests was made available to the general public. And now there is the newly released CD, TRUE LOVE IN MOTION, a solid collection of winning tracks, infectious beats, indelible hooks and an infusion of contemporary flows – done his way – delivered with one of the most engaging and purest voices on the scene today. This release is already receiving great reviews, consistent and beyond his previous projects like that from Indiana mag, Frost Illustrated, that raves, “With each record, Causey just keeps getting better and better at what he does. He’s really hit stride on this record, his already great voice maturing and him using it to explore even more emotional nooks and crannies in his writing and production.”

While Causey has built an impressive as well as acclaimed catalog of recorded music and is continuously in the studio creating music for future projects, his love is to perform live. Because although his recordings reveal an outstanding vocalist, audiences are quick to discover they are only a small window to how tremendously talented and engaging this seasoned entertainer is. Needless to say, his established and burgeoning fan-base is encouraging a burgeoning schedule of soulful live performances throughout the year with a stream of queries from those wanting to know when he’s coming to their town both here and abroad. In addition to appearing at music festivals, sponsored public and private events, and music clubs which include performing at the legendary Bluenote Jazz Club in New York, Causey has opened and shared the stage with a number of noted R&B and jazz artists spanning from Smooth Jazz guitarist Peter White to the popular R&B group, The SOS Band continuing, in the process to capture new admirers of his captivating voice and sound. All of these accolades have and continue to establish Ty Causey as one of the finest vocalists on the soul and smooth jazz scenes encouraging many to recognize him as a major talent on the rise.  “one of the best male soul singers we’ve heard of late, and an artist with a sound that should be getting him big play in years to come!” - Dustygroove.com  https://store.cdbaby.com/Artist/TyCausey1

God Is Love

Saturday, December 9, 2017

Cuca Roseta - Luz

Size: 126,0 MB
Time: 52:52
File: MP3 @ 320K/s
Released: 2017
Styles: Fado, World
Art: Front

01. Luzinha (3:14)
02. Quero (3:30)
03. Foge (2:50)
04. Triste Sina (5:30)
05. Balelas (2:52)
06. Sabio Mudo (2:44)
07. Nao Demores (2:47)
08. Ate Ao Amanhecer (2:54)
09. Ai O Amor (3:33)
10. Versos Contados (2:50)
11. Luz Materna (Fado Perseguiçao) (3:33)
12. Saudade E Eu (3:11)
13. Rosinha Da Serra D'arga (2:31)
14. Contemplaçao (3:09)
15. Alecrim (4:03)
16. Luz Do Mundo (3:35)

At her 4th Album, the great new-fado singer CUCA ROSETA decides to explore her capacities has a composer and to record new fados.
A brilliant voice and one of the Portuguese greatest artists.

Bio:
And it is this absolute sincerity, bordering on dissatisfaction, which leaves us bewildered, almost shocked. This natural acceptance of fate, visible in Cuca’s dark eyes, is, also, a sign that what she says is genuine and truly felt. Moreover, she’s right.

Fortunately for us, the first step of that fate is currently being recorded in her own name: Cuca Roseta, her debut album, shows the truth within the person singing those words. Because the fado has this mystery: it allows no lying.

We will get back to that. For now, let us spend some time with Isabel “Cuca” Roseta in order to understand why – when writing about fado – such hackneyed yet indispensible words sometimes mean so much: words such as, “fate”, or “soul”, for example.

The truth is there is nothing in Cuca Roseta’s life which would foretell that the fado would, one day, choose her. There is no family history of fado performers, and the musical genre she grew up listening to was art music. Until the day, at the age of 18, she visited a fado house. The first shock, the first small onslaught to Cuca Roseta’s soul: although the fado did not yet completely seduce her, she began to need it in her life: “I went to fado houses mostly for the emotion, it was very intense”, she recalls. Without her knowing, it was already too late: she had been definitively chosen by the fado.

She began to sing, timidly. Once, a special listener recognized the truth in her voice; a truth she was beginning to express. It was Carlos Zel who insisted: “You have to learn more fados”. She promised she would do it.

Life, however, has a way of meddling in our plans and, suddenly, Cuca was a member of a pop band – Toranja – which, with only a small repertoire, was leaving its mark on Portuguese mainstream music. Those were exciting times, a successful adventure. But there was an emptiness, always an emptiness…

After having taken a degree in Psychology, she decided to participate in a fado competition in Oporto. She learned eight songs. But Cuca’s most important reward came in the form of an unshakeable truth: “This is what I want to do”, she thought at the time. And determined she went in search of her fate.

She spent a year wandering around Lisbon, singing and learning, always learning. She became a regular presence in places where fado was being performed; she spoke to musicians, other fado performers. “There was a world of things to learn which had to do with poetry, with emotion”. She met Ana Moura who encouraged her to continue. And one night she is introduced by Nobre Costa to João Braga, known for his propensity and vision for launching new fado performers in his concerts.

“What are you doing three days from now?” asked the fadista to an extremely impressed Cuca Roseta.

“Nothing.”, she answered.

“Great. You’re going to participate in one of my concerts on television”.

Did anyone mention fate?

Next follows a stint in Clube de Fado. Mário Pacheco, guitarist and owner of the club, has a special ear for new voices. He liked the new fadista and she quickly became part of the prestigious ensemble. During that time she took the opportunity to absorb every single second of fado to which she was exposed. And it was during one of those nights, when she wasn’t even supposed to be there, that justifies the reason for these lines. Just like that, without any planning or hope. A night when, unforeseen, by mere chance, luck or mystery, Cuca Roseta met the Argentinian Gustavo Santaolalla: musician, producer, well-known composer of soundtracks (with Oscars for Babel and Brokeback Mountain). That dogged fate in which Cuca believes more and more. In a quiet but firm voice she confides, as if reliving that night for the first time: “I believe in fate. Things happened naturally, catching me almost by surprise”.

While hearing her sing, Santaolalla, deeply impressed, immediately told her he wanted to record with her. Cuca, sensible, found it strange – because she did not know the identity of this stranger making such an offer. Someone, at last, identified the Argentinian; Cuca apologizes for having no idea he was a producer. Santaolalla answers: “Who I am is not important. What matters is that I saw a star in you”. And he walked out.

The days passed and Gustavo continued to call insisting that Cuca get to know the musical project he had created for her. Meanwhile, other record labels, aware of the producer’s interest, start to besiege Cuca Roseta who refuses all offers with the force which comes from a passionate certainty (“my relationship with Gustavo was truly a case of musical love”), she would later confide. And thus, what had to happen, happened. The record Cuca Roseta was beginning to take form.

All fado performers who follow the circuit of the fado houses go through a terrifying trial when they have to face the loneliness of the studio. The girl who participated in Carlos Saura’s Fados or sang for Benedict XVI during the Pope’s visit to Portugal was able to give it her all, taking advantage of the incredible atmosphere provided by Gustavo Santaolalla. And she confirms: “I didn’t feel very lonely while recording; I surrendered to the emotion”. The result is a beautiful debut album, with a repertoire that includes some classics (“Rua do Capelão”, “Avé Maria Fadista” or “Marcha de Santo António”), other musical fados (the magnificent “Porque Voltas De Que Lei”, lyrics by Amália in collaboration with the producer himself and the tanguero Cristobal Repetto; or “Maré Viva”, a poem by Rosa Lobato Faria translated into Castilian by Santaolalla), and, above all, the affirmation of Cuca Roseta as a lyricist in her own right. Some excellent examples are, “Homem Português” and “Nos Teus Braços”, for which Cuca, also, wrote the music. This “autonomous” talent brings her even closer to her music.

With the perfect musical accompaniment, Mário Pacheco on the guitar, Pedro Pinhal on the viola de fado (six-string guitar of the Spanish form) and Rodrigo Serrão on the double bass. And overseeing it all is Gustavo Santaolalla’s extraordinary sensitivity, giving Cuca time, space and voice to express her feelings and, at last, show them to the world; because the soul is universal.

Perhaps these are difficult times, in which reality is more invasive than we would like. But the soul resists, the soul persists. The almost mystical force which radiates from Cuca Roseta, her faith, the communion with her feelings and nature may give us the hope for redemption from everything by its sheer beauty. When we, once again, insist on fate, she smiles and, once more, disarms us: “All I want to do is to sing”. She gets up, joins the other musicians waiting for her, and her perfectly pitched voice mingles with the Portuguese guitar. And we let ourselves be taken along this path of absolute truth.

Luz

Laurent De Wilde - New Monk Trio

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Contemporary jazz
Year: 2017
Art: Front

[4:25] 1. Misterioso
[4:46] 2. Round Midnight
[4:13] 3. Monk's Mood
[3:19] 4. Thelonious
[4:00] 5. Pannonica
[3:13] 6. Tune For T
[3:37] 7. Monk's Mix
[4:15] 8. Four In One
[5:21] 9. Reflections
[4:34] 10. Coming On The Hudson
[4:48] 11. Locomotive
[2:59] 12. Friday The 13th

Double Bass – Jerome Regard; Drums – Donald Kontomanou; Piano – Laurent De Wilde.

Laurent de Wilde celebrates the centenary of the birth of pianist and composer Thelonious Monk with the album "New Monk Trio". It has been twenty years since Laurent de Wilde published the biography of Thelonious Monk, a reference book followed a few years later by a documentary directed for Arte. Since then, everyone has been waiting for this disco tribute celebrating one of the greatest and most mysterious creators of American music. With a lot of humility, Laurent de Wilde had already taken up some of his master's themes during his musical explorations, from Off Minor and Jackie-ing in acoustics to Shuffle Boil and Epistrophy in electronics. The pianist will have waited for the centennial year of the birth of "Sphere" to appropriate the legacy of Monk on the album New Monk Trio released on October 20 on the label Gazebo.

After having spoken with the pianist Ray Lema on the album Riddles, Laurent de Wilde returns to his ideal formation, the trio, surrounded by two long-time accomplices; bassist Jérôme Regard and drummer Donald Kontomanou. Of course impossible to imitate the mysterious and unique sound of Monk, the trio reinvents, recomposes and rearranges the great themes of the master, Misterioso, 'Round Midnight, Pannonica, Monk's Mood ... Modifications of the original tempo, alterations of forms, bursting harmonies, bringing together several melodies in one piece, only a title of Monk remains untouched here, Reflections. As an ultimate tribute, Laurent de Wilde offers us Tune for T, a superb original composition that he performs in solo piano. (Translated from French.)

New Monk Trio

Ana Paula Lopes - Mil Rosas

Bitrate: MP3@320K/s
Time: 48:30
Size: 111.1 MB
Styles: Brazilian traditions, Latin jazz
Year: 2008
Art: Front

[2:47] 1. Gata Lúcida
[3:12] 2. Mil Rosas
[3:40] 3. Mesmo Que Tarde
[3:09] 4. Sorrir à Toa
[3:51] 5. Quem Sabe
[4:13] 6. Sabores
[3:08] 7. Sinhô Do Tempo
[2:57] 8. Outra Vez
[3:44] 9. Teu Mar
[2:46] 10. A Chegança
[3:21] 11. Pedrarias, Prata E Pó
[4:49] 12. Vai E Vem
[3:10] 13. Carta Ao Meu Amor
[3:36] 14. Rainha Da Laje

Mil Rosas "is the second CD of the singer. The repertoire is strong and full of novelties that go through jazz, samba, bossa, blues, baião and ballads. The songs are very Brazilian, full of balance and emotion, and maintains the sophistication in the arrangements that mark the work of Ana Paula. Of the 14 tracks of the CD, 12 are unpublished, showing their own compositions and new composers such as Domenico Lancelotti, Giana Viscardi and Michael Ruzitschka, Rodrigo Leão, Marcelo Silva, Juliana Kehl, Paulo Costa and the poet Dédo Thenório, and Celso Marques. of partner in one of the songs, signs the musical production. (Translated from Portuguese.)

Mil Rosas

Paul Williams - A Little Bit Of Love

Bitrate: MP3@320K/s
Time: 41:44
Size: 95.5 MB
Styles: Soft rock
Year: 1974/2014
Art: Front

[4:18] 1. A Little Bit Of Love
[4:24] 2. Sleep Warm
[4:50] 3. Margarita
[3:09] 4. Sunday
[3:22] 5. The Family Of Man
[1:43] 6. California Roses
[3:19] 7. She Sings For Free
[3:09] 8. Nice To Be Around
[3:41] 9. Then I'll Be Home
[3:22] 10. Loneliness
[6:23] 11. Sad Song

If Here Comes Inspiration was two steps forward, A Little Bit of Love is at least one back. It begins promisingly enough with a touching portrait of an altruistic soul ("A Little Bit of Love"), but plummets like a lead balloon into twee, sentimental excess. "Fireflies/Fun for one but twice as nice for two" croons Williams on the execrable "Sleep Warm," and it's hard not to wonder if he really buys such saccharine twaddle, or whether he's having a joke on his audience. On "Margarita" (written by Tom Jans) whose dreadful pseudo-Spanish arrangement defies belief -- Williams turns in his most self-indulgent, whining vocal performance ever. "Nice to Be Around" and "Loneliness" offer all too brief respite (both actually say something worthwhile), but before long Williams is inflicting cliché after cliché upon the weary listener ("That's a sad song/That used to be our song"), with seemingly indefatigable zeal. Only when you consider that Williams was stoned for over a decade, does any of this rotten, mawkish mess make sense. ~Charles Donovan

A Little Bit Of Love

Arnould Massart, Philippe Aerts, Phillippe Mobers - Three To Get Ready

Bitrate: MP3@320K/s
Time: 55:38
Size: 127.4 MB
Styles: Piano jazz, Contemporary jazz
Year: 2002
Art: Front

[4:24] 1. Packed Orgy
[5:06] 2. Toujour'
[5:16] 3. Anima
[4:24] 4. Samba De Uma Nota
[7:06] 5. A Garota Da Garota
[7:55] 6. Song For John Merrick
[3:33] 7. Vivement Ce Soir !
[4:54] 8. So Danco Samba
[7:08] 9. La Valse Du Cyclothymique
[5:48] 10. Three To Get Ready

Bass – Philippe Aerts; Drums – Philippe Mobers; Piano – Arnould Massart.

A versatile musician, pianist, pedagogue, researcher, Arnould Massart evolves in styles as diverse as jazz, contemporary music or variety, where his open-minded conception of music makes him a valued collaborator as artistic director, composer, arranger or accompanist whether Maurane, Alain Chamfort, Khaled and many others ...

Bright, cheerful, jazzy, Latin, at the confluence of samba and jazz, improvisation and emotion, "Three to get ready" offers a repertoire of compositions by Arnould Massart where dynamism and rigor, virtuosity and depth are in constant contact A "samba-bop" that succeeds the bet of the osmosis between the Brazilian sensual rhythms and the flights of the bop, without forgetting the touch of humor proper to the leader! (Translated from French.)

Three To Get Ready

Bill Evans - The Best Of Bill Evans (Remastered)

Bitrate: MP3@320K/s
Time: 77:05
Size: 176.5 MB
Styles: Piano jazz
Year: 2004
Art: Front

[1:16] 1. Waltz For Debby
[5:11] 2. Waltz For Debby (with Cannonball Adderley)
[4:43] 3. Our Delight
[7:32] 4. Night And Day
[6:39] 5. Peace Piece
[4:09] 6. Woody 'n You
[5:21] 7. Blue In Green
[5:48] 8. Nardis
[7:12] 9. My Romance
[4:27] 10. If You Could See Me Now
[7:02] 11. You And The Night And The Music
[6:00] 12. Time Remembered
[5:42] 13. Everything Happens To Me
[5:55] 14. Swedish Pastry

One of the most influential jazz pianists of the 20th Century, Bill Evans infused the language of jazz with Impressionist chordal voicings and is considered one of the pioneers of modal jazz. His trio with bassist Scott LaFaro and drummer Paul Motion redefined the piano trio idiom, providing a template for nearly every jazz pianist who followed. As a sideman, Evans appeared with such artists as Charles Mingus and Oliver Nelson, though he's perhaps most known as a member of Miles Davis' legendary late 1950s sextet responsible for the jazz classic Kind of Blue.

The Best Of Bill Evans (Remastered)

Carmen Gomes Inc. - Callin' From K.C.

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 54:34
Size: 125,0 MB
Art: Front

(4:37)  1. Dig Dis
(4:05)  2. Freewheel Blues
(5:01)  3. Big City
(5:14)  4. Mmm, Come On In My Kitchen
(3:51)  5. And What If I Don't
(5:51)  6. A Matter Of Truth
(4:45)  7. It's About Time
(2:19)  8. The Sidekick
(4:26)  9. Topaz
(5:56) 10. I've Grown Accustomed To His Face
(3:50) 11. Callin' From K.C (Madam And The Phonebill)
(2:35) 12. What A Little Moonlight Can Do
(1:59) 13. A Case Of Blues

A performance by Carmen Gomes Inc. is an exploration in music. Because the members of the quartet know better than anyone that no two versions of a song can ever be the same and because it might be just that exploration. Whether they play jazz, blues, soulful or with funk influences, the foursome discovered a long time ago that these small variations ensure that music never gets bored and that every night it is a challenge to play. In 2006, the group reinvented itself with the arrival of guitarist Folker Tettero. His bluesy sound provides just the bit of weight Gomes needs to be able to lean on his chords and riffs. That gives bassist Peter Bjørnild and drummer Bert Kamsteeg in turn more freedom, so they challenge Gomes musically to go to the limit. And you notice that. Her voice, trained at the conservatory, can groan, growl and play. She makes her songs personal and sincere, but at the same time challenging and compelling, full of passion and energy. Carmen Gomes Inc. revolves around four musicians who seek a perfect blend of individual expression and harmonious interplay. Music that is made by four people who understand that in the end only one is the boss. And that's the song. Translate by google http://www.carmengomes.com/CarmenGomesInc.aspx

Callin' From K.C.

Monty Alexander - Triple Treat I

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 41:14
Size: 94,7 MB
Art: Front

(3:00)  1. (Meet The) Flinstones
(6:11)  2. Body And Soul
(3:53)  3. Small Fry
(6:52)  4. When Lights Are Low
(6:33)  5. Triple Treat Blues
(3:49)  6. Fungi Mama
(5:53)  7. Sweet Lady
(4:59)  8. But Not For Me

One can excuse pianist Monty Alexander if his playing on this Concord set recalls Oscar Peterson, for his sidemen in the trio are Oscar Peterson-alumni guitarist Herb Ellis and bassist Ray Brown. The combination lives up to its potential with the group romping on such songs as "The Flintstones," Blue Mitchell's "Fungi Mama," and an up-tempo "Small Fry." ~ Scott Yanow https://www.allmusic.com/album/triple-treat-vol-1-mw0000196799

Personnel: Monty Alexander (piano); Herb Ellis (guitar); Ray Brown (bass)      

Triple Treat I

Arturo O'Farrill & Chucho Valdés - Familia: Tribute To Bebo & Chico (Disc 1) And (Disc 2)

Album: Familia: Tribute To Bebo & Chico (Disc 1)

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:49
Size: 125,8 MB
Art: Front + Back

( 8:56)  1. BeboChico
( 7:52)  2. Three Revolutions
( 9:33)  3. Ecuación
(11:59)  4. Tema de Bebo
( 6:09)  5. Pianitis
(10:18)  6. Father, Mothers, Sons, Daughters

Familia: Tribute To Bebo & Chico (disc 1)

Album: Familia: Tribute: To Bebo & Chico (Disc 2)

Time: 39:29
Size: 90,7 MB

(7:20)  1. Run And Jump
(7:41)  2. Recuerdo
(5:44)  3. Gonki Gonki
(3:50)  4. Pura Emoción
(2:32)  5. Para Chico
(8:07)  6. Con Poco Coco
(4:12)  7. Raja Ram

Pianists Arturo O'Farrill and Chucho Valdés celebrate their rich musical family legacies on 2017's ambitious, gloriously realized Familia: Tribute to Bebo & Chico. Although they grew up on separate shores, O'Farrill in New York (via Mexico) and Valdés in Cuba, they both came of age in musical households as the sons of legendary Cuban bandleaders Chico O'Farrill and Bebo Valdés. Along with icons like Chano Pozo, Machito, and Dizzy Gillespie, the elder O'Farrill and Valdés were giants of Afro-Cuban music. Similarly, just as their fathers helped further the dissemination and creative development of Afro-Cuban and Latin jazz, Arturo and Chucho are innovators in their own rights, with decades of experience playing both traditional Cuban music and ultra-modern jazz. Impressively, they bring all that history to bear on Familia, a two-disc collection featuring songs composed by their fathers, as well as new compositions inspired by their lives growing up in such deeply artistic families. Joining them here are their equally talented children, including trumpeter Adam O'Farrill, drummer Zack O'Farrill, pianist Leyanis Valdés, and drummer Jessie Valdés. Also on board are the members of Arturo O'Farrill's own Grammy Award-winning Afro Latin Jazz Orchestra. Disc one primarily features the Afro Latin Jazz Orchestra and finds O'Farrill and Valdés taking a more traditional, if still dazzling approach on cuts like the merengue-infused "BeboChicoChuchoTuro" and a lushly orchestrated reading of Bebo Valdés' "Ecuacion." Also compelling are the pianist's solo turns on Chico O'Farrill's "Pianitis" and O'Farrill's homage to his parents, "Fathers, Mothers, Sons, Daughters," which features several sparkling cadenzas from pianist Leyanis Valdés. Disc two showcases the smaller, post-bop-leaning Third Generations Ensemble, in which they explore the more progressive edges of Afro-Cuban jazz. Here, trumpeter (and third place finisher at the 2014 Thelonious Monk Jazz Competition) Adam O'Farrill shines, revealing his knack for harmonically adventurous improvisation à la Woody Shaw on the kinetic and fractured "Run and Jump." Similarly, the trumpeter breathes new life into Chico O'Farrill's "Pura Emocion" framed by his father's taut, angular arrangement. Elsewhere, Zack O'Farrill contributes the expansive "Gonki Gonki" (his mother's way of describing the sound of rhythmic piano montunos) and Chucho offers the lushly virtuosic solo track "Para Chico." The sheer amount of virtuosity on display on Familia: Tribute to Bebo & Chico might well be overwhelming if the music itself weren't so warmly and beautifully rendered. ~ Matt Collar https://www.allmusic.com/album/familia-tribute-to-bebo-chico-mw0003086663               

Familia: Tribute: To Bebo & Chico (disc 2)

Friday, December 8, 2017

Don 'Sugarcane' Harris - Keep On Driving

Size: 104,2 MB
Time: 44:37
File: MP3 @ 320K/s
Released: 1970
Styles: Jazz Rock
Art: Front

01. Keep On Driving (4:07)
02. Blues On The Moon (6:50)
03. Which Way Is The Bathroom (4:03)
04. Desiree (8:45)
05. Almost Broke (5:56)
06. Coitus Interruptus (4:55)
07. Remember The Past (9:57)

This studio session marked the beginning of blues violinist Don "Sugarcane" Harris' association with the German record label Saba (later renamed MPS). Harris, who was nearly flat broke at the time, had to borrow one of the violins used on the date, along with a pickup for the amplified selections. Joined by electric guitarist Volker Kriegel, pianist John Taylor, and drummer Tony Oxley (all of whom are better known for their jazz credentials), the session ends up being a fusion of blues, jazz, and a bit of rock, while all of the songs are Harris' originals. The opener, "Keep On Driving," is the kind of insistent blues typically associated with Harris, though it is a bit low key, possibly due to the use of acoustic violin. The free improvisation within "Blues on the Moon" is atypical for the genre, but not Harris, who is again on the acoustic instrument. The leader's slashing attack on electric violin in the humorously titled "Which Way Is the Bathroom?" is easily the highlight of the date, recalling his best collaborations with rocker Frank Zappa, as well as the violinist's rare live recordings. He is at his most soulful in "Desiree." The brisk "Almost Broke" showcases a hot solo by Kriegel, while the funky "Coitus Interruptus" finds Harris' violin taking on an almost vocal quality, followed by Kriegel's blistering solo. The disc ends with an extended workout of "Remember the Past," a sort of blues strut that detours into wild improvisations by the quartet. This was a fine beginning for Sugarcane Harris' debut with the label, though health problems essentially ended his recording career within just a few short years. ~by Ken Dryden

Keep On Driving

Liane Carroll - Liane At Christmas

Size: 105 MB
Time: 18:21
File: FLAC
Released: 2017
Styles: Jazz Vocals, Xmas
Art: Front

01. Have Yourself A Merry Little Christmas (2:43)
02. Silent Night (3:19)
03. In The Bleak Midwinter (4:24)
04. I Believe In Father Christmas (2:46)
05. Some Children See Him (5:07)

We rarely do EPs and we try to avoid Christmas ones in whatever format. However, when it's a Christmas EP by Liane Carroll we do tend to bend the rules a little.
Liane at Christmas is worth bending the rules for as it's as delightful a post-Yuletide coaster as you're likely to receive on Christmas Eve.
Come January 1, maybe even sooner on Boxing Day, it and all the lesser Christmas albums will be forgotten. Sad but true.
And it is sad because this is such a miniature gem that it deserves an all year-round shelf life.
Liane is in fine voice with, not surprisingly, a hint of Aretha or Mahalia hear and there. ~Lance

Liane At Christmas

Ana Moura - Moura (Deluxe Version)

Size: 127,8+230,5 MB
Time: 54:29+98:42
File: MP3 @ 320K/s
Released: 2016
Styles: Fado, World
Art: Front

CD 1:
1. Moura Encantada (4:43)
2. Fado Dançado (2:17)
3. Desamparo (3:36)
4. Dia De Folga (2:37)
5. Ai Eu (4:38)
6. Eu Entrego (Feat. Omara Portuondo) (2:44)
7. Agora E Que E (3:11)
8. Cantiga De Abrigo (3:54)
9. O Meu Amor Foi Para O Brasil (2:50)
10. Ninharia (4:17)
11. Tens Os Olhos De Deus (5:17)
12. Nao Quero Nem Saber (3:05)
13. Moura (4:13)
14. Lilac Wine (Bonus Track) (4:15)
15. Eu Entrego (Bonus Track) (2:45)

CD 2:
1. Moura Encantada (Live) ( 5:32)
2. Ai Eu (Live) ( 5:07)
3. O Meu Amor Foi Para O Brasil (Live) ( 3:37)
4. Fado Dançado (Live) ( 2:41)
5. Desamparo (Live) ( 3:23)
6. Agora E Que E (Live) ( 5:19)
7. Cantiga De Abrigo (Live) ( 4:05)
8. Ninharia (Live) ( 5:23)
9. De Quando Em Vez (Live) ( 3:58)
10. Porque Teimas Nesta Dor (Live) ( 3:50)
11. Maldiçao (Live) (10:45)
12. Eu Entrego (Live) ( 3:09)
13. Nao Quero Nem Saber (Live) ( 3:04)
14. Valentim (Live) ( 3:23)
15. Moura (Live) ( 5:18)
16. Leva-Me Aos Fados (Live) ( 3:02)
17. Os Buzios (Live) ( 4:07)
18. Tens Os Olhos De Deus (Live) ( 5:32)
19. Bailinho A Portuguesa (Live) ( 4:10)
20. Dia De Folga (Live) ( 2:58)
21. Loucura (Live) ( 5:18)
22. Desfado (Live) ( 4:51)

Fado vocalist Ana Moura was born in the historic city of Santarem, on the Tejo River north of Lisbon. As a girl, Moura was steeped in fado and its traditions, brought up in a family where the music was valued and loved, sung at home and at family gatherings. Though she experimented in adolescence with pop and rock music, singing in local bands, Moura's commitment to fado never waned. Even in pop shows, she would include some fado in the repertoire. Moura's shift in emphasis toward her national music began at age 20 when she wandered into one of the many fado houses in her region with a group of friends at age 20. Encouraged by friends to sing for the guitarists and aficionados who were gathered there, Moura was received warmly. She became a regular in the local fado culture. At a casual Christmas party that same year, Moura was discovered by the famous Maria de Fe, who invited Moura to come and sing with her at her house. Her love for the music grew with her reputation, and she began appearing on local television and throughout the regional press. Moura made her recording industry debut with the 2004 Universal Music release Aconteceu. Performances on a variety of important world stages were soon to follow, including N.Y.C.'s Carnegie Hall, among others. A release each year since that time combined with regular touring on the international world music circuit have positioned Ana Moura as the fadista face of her generation. ~ Evan C. Gutierrez

Moura CD 1
Moura CD 2

Airto Moreira - Alue

Size: 160,8 MB
Time: 69:37
File: MP3 @ 320K/s
Released: 2017
Styles: Latin Jazz
Label: Selo Sesc
Art: Front

01. Alue ( 6:45)
02. Misturada ( 6:46)
03. Rosa Negra ( 8:00)
04. I'm Fine, How Are You (10:05)
05. Lua Flora ( 9:52)
06. Nao Sei Pra Onde, Mas Vai (14:14)
07. Sea Horse ( 9:33)
08. Guarany ( 4:18)

Airto Moreira started to laugh and hung up. There was not the slightest possibility that Miles Davis at the beginning of his phase known as the "electric period" had him call the "Brazilian guy" in order to invite him to a recording. "Mr Moreira, I am the Miles Davis businessman and he asks you to come to the studio next Monday to record together. "Airto's response was short:" Who's talking? OK, have a nice day. "
But the phone rang again and the story of the boy born in Santa Catarina, raised in Curitiba and discovered in the early 1960s alongside César Camargo Mariano and Humberto Cláiber, breaking everything in the Trio Sambalanço, won his New Testament. The one who picked the phone this time was Lee Morgan, the trumpeter who walked by his residence. "No need to answer, it must be a joke," Airto warned. Morgan exchanged a few words in English and returned. "They want you in Bitches Brew." One of Miles's legendary works would have Airto on the percussion.
It was a trajectory that was imposed on the Brazilian's own decisions. From gig to gig, he passed Herbie Hancock, Wayne Shorter, Jaco Pastorius, Dizzy Gillespie, Cannonball Adderley, Lee Morgan, Dave Holland, Keith Jarrett, Jack DeJohnette, Ron Carter, John McLaughlin, Quincy Jones, George Duke, Mickey Hart, Paul Simon, Carlos Santana, Michael Brecker, Zakir Hussain, Stanley Clarke, Chick Corea and Joe Zawinul. Down Beat magazine named him the best percussionist in the world for eight years in a row and Brazil was small. There was no invitation to stimulate him more than the world offered him.
Fifty years after his departure abroad in 1967, Airto Moreira will release his first Brazilian album with shows from December 7 to 10 at Sesc 24 de Maio. Rio's Blue Note welcomes you on December 15th. It is his first work playing only with musicians from his country and recorded in Brazil. Aluê, with some revisions of important records and the unpublished Rosa Negra, I Do not Know Where, But Vai and Guarany, have musicians José Neto (guitar), daughter Diana Purim (vocals), Sizão Machado (bass), Fabio Leandro piano), Vitor Alcântara (saxophones) and Carlos Ezequiel (drums and production).
The album features album themes scattered throughout various periods of his career. From the album The Sun Is Out, 1989, I'm Fine, How Are You and Moon Flora. The Aluê track was extracted from Natural Feelings, 1970. A few years ahead and Mixed remembers the phase of the album Three-Way Mirror, of 1987. (translate from portuguese)

Alue

Beata Przybytek - Today Girls Don't Cry

Size: 129,8 MB
Time: 56:10
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. You Can Come To Me (4:15)
02. Priceless Cure (4:09)
03. Z Rozpaczy Blues (4:54)
04. Nie Wiadomo (4:14)
05. Delicate Flower (2:58)
06. The Shadow Age (4:12)
07. A Lady Wants To Forget (4:49)
08. Dotyku Motyl (3:54)
09. Heavy Rain (4:23)
10. I Had A Chat (4:17)
11. Out Of Control (4:55)
12. Rozwazna Czy Romantyczna (4:46)
13. Today Girls Don't Cry (4:17)

Beata Przybytek is an outstanding vocalist, pianist and composer. She is widely acknowledged as one of the most intriguing Polish voices. She graduated from the Jazz Department at the Karol Szymanowski Academy of Music in Katowice where she is currently a member of the faculty.
Beata won first place at The 29th International Meeting of Jazz Vocalists in Zamosc. During her long and fruitful career, she has released the following albums: ”You Don’t Know What Love Is” (2003), ”The Island” (2004), ”Wonderland” (2006) which is distributed in Poland and Japan, and the latest ”I’m Gonna Rock You” (2012).
The artist joined forces with such prominent members of Polish jazz stage as Jan Ptaszyn Wróblewski, Janusz Muniak, Jaroslaw Smietana, Piotr Wojtasik, Bernard Maseli, Wojciech Karolak, and Jazz Band Ball Orchestra.
She took active part in the Kalinowe Serce Charity’s project – „Singing Jazz” featuring Marianna Wróblewska and Maciej Zakoscielny.
As far as Beata’s performances are concerned, she played a crucial role during numerous domestic and international jazz festivals: Jazz Jamboree, Bielska Zadymka Jazzowa, Summer Jazz Festival at Piwnica pod Baranami, International Glogów Jazz Meetings, Pomorska Jesien Jazzowa, Easy Jazz Festival, Jazz Sessions in Gliwice, Jazz Forum Jazz Festival, Jazz w Lesie in Sulenczyn, Baszta Jazz Festival, Podlasie Jazz Festival, Swidnickie Noce Jazzowe, Jazz na Kanapie in Olesnica, Zakopianska Wiosna Jazzowa, Legnica Jazz Days, Jazz En Nord Jazz Festival - France, Sibiu Jazz Festival , Ploiesti Hot Jazz Summit – Romania, International Jazz Piestany – Slovakia etc. Beata is internationally recognized and fervently applauded by audiences in Poland as well as in Austria, Belgium, Sweden, Germany, France, Romania, and Slovakia.

“Sensation. In my humble opinion, Poland has not had a jazz vocalist singing so distinctly and expressively since Urszula Dudziak. Morover, the style and timbre of voice Beata presents being so characteristic for black vocalists, distinguish her from other Polish jazz singers.”
Andrzej Chojnacki, „Od Przybytek glowa nie boli...”, „Jazz Forum”

“Someone said the more Przybytek the better. It is not enough- you can really fall in love with Beata Przybytek’s voice.(…)Warm,sometimes a little hoarse,once naturally clear, white, some other time giving the impression of stylish-black. However, never mannered! This is her voice in short. But even this seems to be not enough…because Beata Przybytek should not be read about, she must be heard. Extraordinary voice must touch us and go deep inside.(…)Beata Przybytek is a mature and fulfilled artist.”
Tomasz Jakub Handzlik, „Gazeta Wyborcza”

Today Girls Don't Cry

Eva Cassidy - Acoustic

Size: 175,4 MB
Time: 74:11
File: MP3 @ 320K/s
Released: 2017
Styles: Folk, Pop, Jazz
Art: Front

01. Early Morning Rain (Acoustic) (4:06)
02. Wayfaring Stranger (Acoustic) (3:05)
03. Kathy's Song (Acoustic) (4:34)
04. Wade In The Water (Acoustic) (2:36)
05. Dark Eyed Molly (Acoustic) (3:23)
06. Songbird (Acoustic) (2:50)
07. Bold Young Farmer (Acoustic) (3:45)
08. Tennessee Waltz (Acoustic) (2:29)
09. It Doesn't Matter Anymore (Acoustic) (3:10)
10. People Get Ready (Acoustic) (3:27)
11. The Water Is Wide (Acoustic) (4:17)
12. Time After Time (Acoustic) (4:03)
13. At Last (Acoustic) (2:55)
14. True Colours (Acoustic) (3:44)
15. You Take My Breath Away (Acoustic) (5:38)
16. American Tune (Acoustic) (4:01)
17. I Wandered By A Brookside (Acoustic) (3:31)
18. Autumn Leaves (Acoustic) (4:02)
19. Who Know Where The Time Goes (Acoustic) (4:48)
20. Danny Boy (Acoustic) (3:39)

The heart-tugging story of Eva Cassidy reads almost like the plot of a "Movie of the Week" tearjerker. A native of the Washington, D.C., area, the painfully shy Cassidy earned a local reputation as a masterful interpreter of standards from virtually any genre, blessed with technical agility and a searching passion that cut straight to the emotional core of her material. Despite the evocative instrument that was Cassidy's voice, record companies shied away from her, unsure of how to market her eclectic repertoire; for her part, Cassidy adamantly refused to allow herself to be pigeonholed, prizing the music above any potential fame. In 1996, just when she had begun to record more frequently on a small, local basis, Cassidy was diagnosed with cancer, which had already spread throughout her body and rapidly claimed her life. But her story didn't end there; her music was posthumously championed by a BBC disc jockey, and amazingly, the anthology Songbird became a number one million-selling smash in England.

Cassidy was born February 2, 1963, in Oxon Hill, Maryland, and grew up (from age nine on) in Bowie, Maryland. She loved music from an early age, particularly folk and jazz (as a girl, her favorite singer was Buffy Sainte-Marie), and learned guitar from her father Hugh. At one point, Hugh put together a family folk act featuring himself on bass, Eva on guitar and vocals, and her brother Danny on fiddle; Eva and Danny also played country music at a local amusement park, but Eva's sensitivity eventually made performances too difficult on her. Something of a loner during her teens, Cassidy sang with a pop/rock band called Stonehenge while in high school. After graduating, she studied art for a short time, but soon grew dissatisfied with what she was being taught, and dropped out to work at a plant nursery. She sang occasional backing vocals for friends' rock bands around Bowie and Annapolis, but was never comfortable trying to overpower the amplification. In 1986, longtime friend Dave Lourim persuaded Cassidy to lay down some vocals at a recording session for his soft pop/rock group Method Actor. (The results were eventually reissued in 2002.) At the studio, Cassidy met D.C.-area producer Chris Biondo, who was immediately struck by her voice and agreed to help her put together a demo tape she hoped would get her more backup-singing work.

Cassidy became a regular presence at Biondo's studio, where he recorded a wide variety of music; incongruously enough, Cassidy performed backing vocals on D.C. go-go funksters E.U.'s Livin' Large album (singing all of her own harmony parts to give the illusion of a choir) and, later, on gangsta rapper E-40's "I Wanna Thank You." At Biondo's urging, Cassidy formed a backing band to play local clubs, where her singing began to win a following in spite of her discomfort. In 1991, Biondo played Cassidy's demos for Chuck Brown, the originator of D.C.'s swinging go-go funk sound (which never really broke out to a national audience). Brown had been wanting to record an album of jazz and blues standards, and found his ideal duet partner in the sophisticated yet soulful Cassidy. Their collaborative album, The Other Side, was released in late 1992, and in 1993, the two began performing around the D.C. area together; helped by Brown's outgoing showmanship, Cassidy finally began to lose some of the insecurity and intense fear that usually kept her away from live performance. Several record labels showed interest in signing her, but her recorded submissions always covered too much ground -- folk, jazz, blues, gospel, R&B, pop/rock -- for the marketing department's taste (or limited imaginations), and the labels always wound up passing.

In September 1993, Cassidy had a malignant mole removed from below her neck and neglected her subsequent checkup appointments. Shortly thereafter, she broke up with Biondo, who'd been her boyfriend for several years, but they continued their professional relationship. In early 1994, the Blue Note label showed some interest in teaming Cassidy with a jazz-pop outfit from Philadelphia called Pieces of a Dream; they recorded the single "Goodbye Manhattan" together, and Cassidy toured with them that summer, but didn't really care for their style. She returned to D.C. and began playing more gigs on her own, though she still made the occasional appearance with Brown. At the end of the year, she won a local music award for traditional jazz vocals.

Cassidy remained unable to secure a record deal, and Biondo and her frustrated manager decided to put out an album themselves. In January 1996, Cassidy played two gigs at the D.C. club Blues Alley; despite her dissatisfaction with the quality of her performance, the album Live at Blues Alley was compiled from the recordings and released that year to much acclaim in the D.C. area. Sadly, it would be the only solo album to appear during Cassidy's lifetime. She moved to Annapolis and took a job painting murals at elementary schools; during the summer, she began experiencing problems with her hip, which she assumed was related to her frequent use of stepladders at work. However, X-rays revealed that her hip was broken, and further tests showed that the melanoma from several years before had spread to her lungs and bones. Cassidy started chemotherapy, but it was simply too late. A benefit show in her honor was staged in September, and Cassidy found the strength to give her last performance there, singing "What a Wonderful World." She died on November 2, 1996. Cassidy virtually swept that year's Washington Area Music Awards, and the album she'd been working on with Biondo prior to her death, Eva by Heart, was released by Liaison in 1997.

D.C.-based Celtic folk singer Grace Griffith finally found some interest in releasing Cassidy's music at the label she recorded for, Blix Street. 1998's Songbird was a compilation culled from Cassidy's three previous releases, and when BBC Radio 2 disc jockey Terry Wogan started playing the version of "Somewhere Over the Rainbow," Songbird started to sell in the U.K. The British TV show Top of the Pops aired a home-video clip of Cassidy performing the song, quite intensely, at the Blues Alley, and were deluged with requests for further broadcasts. Thanks to all the exposure, Songbird steadily grew into a major hit, climbing all the way to the top of the British album charts and selling over a million copies. In 2000, Blix Street followed Songbird with Time After Time, a set of 12 previously unreleased tracks (eight studio, four live) that proved an important addition to Cassidy's slim recorded legacy. The same year saw the appearance of No Boundaries, an unrepresentative set of adult contemporary pop released by the Renata label over strenuous objections from Cassidy's family. Subsequent collections like Wonderful World (2004) and Simply Eva (2011) included more studio demos and live recordings, further cementing Cassidy's posthumous reputation, along with 2012's The Best of Eva Cassidy and 2015’s expanded and remastered edition of Nightbird, a collection of all 31 songs that Cassidy performed at the Blues Alley in 1996. ~by Steve Huey

Acoustic

Jason Paul Curtis - These Christmas Days

Size: 100,4 MB
Time: 34:01
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, Xmas
Art: Front

01. (Everybody's Waitin' For The) Man With The Bag (2:45)
02. I'll Feel Christmas (2:40)
03. Christmas Breakfast (2:45)
04. December Again (3:03)
05. I Want Snow (3:40)
06. These Christmas Days (4:30)
07. Came Winter (3:53)
08. Christmas Clear (3:04)
09. New Year's Vacation (2:20)
10. The Way You Look Tonight (5:17)

Everybody’s Waitin’ for the) Man with the Bag – While not as well-known as Let it Snow or Winter Wonderland, Curtis breathes a blast of arctic oxygen into the Kay Starr classic, kicking off the set with the original arrangement performed with zeal by Swing Shift. One of only two covers in the entire list, Curtis sets the voltage and tone of the first third, echoing the romping big band vocal-rich vinyl Christmas traditions of the past. Arrangement by Scott Silbert.
I’ll Feel Christmas – Swing Shift follows up with the first original of the set, an energetic, Motown-inspired love letter to the celebration of December 1st. Curtis brings an unabashed sentimental-turned-contemporary feeling of Everytown joy while delighting in the “thousand smiling faces round a giant hemlock tree” that highlights his ability to simultaneously capture a (tree-lighting) moment and devise a catchy hook. Tom Anderson and Matt Trimboli solo.
Christmas Breakfast – Enter the on-your-marks-get-set-go of the gift-feast as the kids tear through their tree-side wrapped booty. The second of the originals, Breakfast has the feel of a frantic ‘50s Cuban floorshow as seen from the kitchen with a fresh cup of joe. Curtis’s dense storytelling has him dad-happily flip flip flipping pancakes as the rip rip ripping ensues, and there might even be a present in there for Dad at the end.
December Again – Curtis pivots to Swinglab for the first of two originals featuring Isabella Curtis. “2004, you looked just like a gift on the floor” begins a 13-year walk through a father and daughter’s Christmas memories, tenderly recalling their picking out and carrying home their annual holiday trees. Albertson and Schiff provide lithe guitar and flute solos in the second chorus, and Bella joins Dad at the end in a delightful vocal duo.
I Want Snow –Bella shines alongside dad and Swinglab in a contrafact, waltzy, father-daughter conversation about where to spend Christmas. “I really love ‘Baubles, Bangles and Beads’ and almost included it on the album,” says the elder Curtis. “Listening through the progressions, though, I started imagining this back-and-forth between me and Bella in the car, and I Want Snow just wrote itself.” Annapolis singer/pianist Jeremy Ragsdale fills out the first half/second chorus piano solo with aplomb, and clarinetist Dave Schiff rounds out the second half brightly. Both Curtises blend vocal harmonies throughout in what already feels like a new holiday standard.
These Christmas Days – Curtis admits that after revisiting his title track a week after the album was mastered, he discovered his subliminal inspiration. “I realized I was channeling the 80’s holiday Folgers commercial I grew up with – ‘Peter Comes Home’ – and I was strangely OK with that.” Curtis wrote the Swinglab-recorded original as a song sequel to 2012’s Lovers Holiday title track with the parents celebrating wintry days at home with the kids during the last week of the year. “I wanted to capture that easy feeling of all the days of Christmas break. These Christmas Days feels like a throwback to my own childhood.” Ray Caddell solos flugelhorn.
Came Winter – Swing Shift opens the romantic act three with Curtis’s driving tribute to George Michael. “I was sitting around thinking about ‘Last Christmas’ and George’s leaving us Christmas Day, 2016, and I decided to add my shine to the ‘Christmas Breakup’ canon of holiday song, “ he says. Curtis once again showcases his knack for story and punchline with a rollicking swinger that shows off not only Ragsdale’s imaginative arranging prowess but Curtis’s own yaw of a vocal range and the band’s powerful swagger. Tom Anderson solos tenor.
Christmas Clear – The seventh original employs Swinglab’s subtle Freddy Green-esque approach to a (clearly) romantic new song that sits squarely in the tradition of Let it Snow.
Curtis spins a light yarn to his honey, touching on the “Christmas Clear” facts of why he fell in love with her last Christmas. Mabalot and Albertson solo piano and guitar.
New Year’s Vacation – Curtis continues the romantic vein with the eighth original: “I almost included What are You Doing New Year’s Eve, which is wonderful, but then I realized I wanted my own NYE song, so I wrote this.” There’s nothing like the coziness of a snug getaway while “..outside, the snow wind is freezing, but inside, this firelight’s so pleasing, so let’s hide, away from the world for awhile.” Swing Shift’s gentle swing makes this a pure couple’s delight with Tom Anderson on the flute solo.
The Way You Look Tonight – Curtis explains the reason he chose this to end the album: “When I think of this song, I think of my wife. It’s the perfect romantic complement to the holiday season. ‘When the world is cold’ is all I need to put it squarely in winter.” He goes on: It takes me to last winter when my family and I were snowed in Virginia’s Homestead resort, and we danced in a huge ballroom to a local combo. My wife never looked so beautiful; it might as well have been New Year’s Eve all over again.” John Albertson’s tender bossa chords blend perfectly with Curtis’s interpretation as do the rest of SwingLab to round out the cold, dark season with sparkle and romance.

These Christmas Days

Viviane - Viviane Canta Piaf

Size: 75,7 MB
Time: 32:50
File: MP3 @ 320K/s
Released: 2017
Styles: Chanson
Art: Front

01. La Vie En Rose (4:43)
02. La Foule (3:11)
03. L'Homme A La Moto (1:56)
04. Non Rien De Rien (2:35)
05. Comme Moi (3:20)
06. Padam Padam (3:55)
07. Johnny Tu N'Est Pas Un Ange (2:36)
08. L'Accordeeoniste (4:13)
09. Les Flons Flons Du Bal (2:50)
10. L'Hymne A L'amour (3:28)

Viviane was born in France and came to Portugal with 13 years old.

There, she started her musical career in 1990 when she formed along with Tó Viegas the ENTRE ASPAS band after reaching the 3rd place in a modern music competition held by Câmara Municipal de Lisboa – Lisbon Municipality, and signed with the multinational record company BMG, having recorded 6 albums through that same publisher.

In 2002, Viviane recorded the 1st CD for the collective project LINHA DA FRENTE published by Universal Music, alongside with João Aguardela and Luis Varatojo.

In 2003 together with Tó Viegas publishes through her own label (Zipmix Records), the 1st CD from the CAMALEÃO AZUL project entitled “O Sul” based on Fernando Cabrita poetry.

In 2005 after the ENTRE ASPAS band ending, Viviane starts her solo career with debut album entitled “Amores Imperfeitos” followed by the second one “Viviane” published in 2007.

In 2009, she is invited for the project "RUA DA SAUDADE" a tribute to Ary dos Santos and his poetry, along with Mafalda Arnauth, Susana Félix and Luanda Cozetti.
The album titled "As Canções de Ary", published by Farol Música reaches platinum.

In 2010 she receives an invitation from Turismo do Algarve, to give her voice to the theme "The most famous secret in Europe” – international campaign wish promotes Algarve regionabroad.

Her third album "As Pequenas Gavetas do Amor" was released in 2011. In this album, like in the other ones, she makes us travel through her exeptional voice and her songs where we can find clear influences of the Fado and the French Musette that makes her songs sounding so special.

Her new album untitled “Dia Novo” released on past May 5th 2014 has had excellent reviews. In her new songs Viviane invites the Fado and the French Chanson and privileges her voice and the portuguese guitar. The 1st single untitled “Do Chiado até ao Cais” is already playing on the main portuguese radios.

Viviane Canta Piaf