Monty Alexander, Ray Brown & Herb Ellis - Triple Treat II

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 53:35
Size: 122,9 MB
Art: Front

(5:17)  1. Lined With A Groove
(8:09)  2. Straighten Up And Fly Right
(6:51)  3. It Might As Well Be Spring
(3:40)  4. Seven Come Eleven
(6:10)  5. Fred
(5:59)  6. Smile
(6:28)  7. I'll Remember April
(5:12)  8. PolkaDots And Moonbeams
(5:43)  9. Lester Leaps In

Five years after the original Triple Treat, pianist Monty Alexander has a reunion with guitarist Herb Ellis and bassist Ray Brown in a program that is in the tradition of both Oscar Peterson and Nat King Cole. A special bonus is violinist John Frigo who sits in on four of the eight songs. Highpoints include Ray Brown's "Lined with a Groove," "Straighten up and Fly Right," "Seven Come Eleven" and "Lester Leaps In." ~ Scott Yanow https://www.allmusic.com/album/triple-treat-vol-2-mw0000199080

Personnel: Monty Alexander (piano), Ray Brown (bass), Herb Ellis (guitar), John Frigo (violin)               

Triple Treat II

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Tommy Flanagan - Thelonica

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 48:29
Size: 111,3 MB
Art: Front

(4:26)  1. North Of The Sunset
(5:31)  2. Light Blue
(5:08)  3. Off Minor
(7:03)  4. Pannonica
(4:14)  5. Ask Me Now
(4:14)  6. Thelonious
(7:35)  7. Reflections
(5:06)  8. Ugly Beauty
(5:11)  9. Thelonica

Recorded just ten months after Thelonious Monk's death, pianist Tommy Flanagan's tribute features eight of Monk's compositions plus Flanagan's own "Thelonica." Assisted by bassist George Mraz and drummer Art Taylor, Flanagan does not sound at all like Monk but he recaptures his spirit and hints strongly now and then at his style on this fine (and often introspective) outing. ~ Scott Yanow https://www.allmusic.com/album/thelonica-mw0000188156

Personnel: Tommy Flanagan (piano); George Mraz (bass instrument); Art Taylor (drums).                 

Thelonica

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Jim Hall - Where Would I Be?

Bitrate: MP3@320K/s
Time: 39:25
Size: 90.2 MB
Styles: Guitar jazz
Year: 1971/1991
Art: Front

[4:18] 1. Simple Samba
[5:11] 2. Where Would I Be
[4:55] 3. Careful
[3:26] 4. Baubles, Bangles And Beads
[8:09] 5. Minotaur
[3:50] 6. I Should Care
[3:55] 7. Vera Cruz
[5:37] 8. Goodbye, My Love

Bass – Malcolm Cecil; Drums – Airto Moreira; Guitar – Jim Hall; Piano – Benny Aronov. Recorded at Mediasound Studios, NY City July 1971.

Although the rhythm section was more "modern" than he usually used (keyboardist Benny Aronov, bassist Malcolm Cecil, and Airto Moreira on drums and percussion), guitarist Jim Hall (who always had a harmonically advanced style anyway) has little difficulty adapting to the fresh setting. Highlights of the well-rounded CD reissue include Hall's "Simple Samba," "Baubles, Bangles and Beads," an unaccompanied "I Should Care," and Milton Nascimento's "Vera Cruz." ~Scott Yanow

Where Would I Be?

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Susan Krebs - Jazz Gardener

Bitrate: MP3@320K/s
Time: 53:34
Size: 122.6 MB
Styles: Jazz-blues vocals
Year: 1999
Art: Front

[3:48] 1. In The Name Of Love
[4:54] 2. Skylark
[4:55] 3. Compost Blues
[3:12] 4. You Don't Know What Love Is
[4:44] 5. Small Day Tomorrow
[4:45] 6. Cockeyed Optimist
[4:04] 7. What'll I Do
[4:41] 8. My Foolish Heart
[6:55] 9. The Blues Are Brewin'
[2:47] 10. Give Me The Simple Life
[4:56] 11. Don't Fence Me In
[3:47] 12. Jazz Gardener

Given the wide diversity of music, arrangements, and vocal styles represented on her maiden album, Susan Krebs' "jazz garden" must be bursting with a plethora of blossoms. Although there's a touch of the blues in virtually everything she touches, Jazz Gardener sings the blues most notably on "Compost Blues" (a blues with a Latin beat) and "The Blues Are Brewin." There are also ballads, like Irving Berlin's "What'll I Do?" in a very soulful, somber mood, which Gary Foster's doleful soprano saxophone helps to create and maintain. Contemporary pop music is represented by Jerry Rankin's "In the Name of Love," while smooth, jazzy sounds are found in "You Don't Know What Love Is." "Don't Fence Me In" is a pop blast from the past, and "Cockeyed Optimist" from the Broadway musical South Pacific starts off in a melancholy atmosphere before seguing into a bossa nova. Krebs can also swing, as seen on "My Foolish Heart" with Jerry Kalaf's brushes whisking the meolody along. The playlist and arrangements are like the weather; if you don't fancy what you're hearing now, wait a track or two and things will change. Categorizing Krebs' voice is not easy; it is anything but prissy and dry, but filled with emotion ranging from a deep, throaty hue to a girlish, higher-pitched tone. Although there's no scatting or other wordless vocalizing, Krebs vocals swoop, drop behind the beat, and generally stay just a little off center. "Skylark," more than any of the other cuts, demonstrates her vocal gymnastics and her emotional intensity. After she delivers a song, Krebs leaves nothing on the table. Her excellent diction and interpretative abilities pay tribute to her teacher, the inestimable Sue Raney. There's outstanding help and support on this variegated agenda of tunes. Guest Gary Foster lends his alto to a rendition of "Small Day Tomorrow" and his tenor to "The Blues Are Brewin." He seems to be a favorite of female songbirds, having been a guest on albums by Natalie Cole, Monica Mancini, and Wesla Whitfield. Louis Durra's organ and Jerry Kalaf's vibes provide a smooth background for "You Don't Know What Love Is." Durra is equally facile on the piano and provides solid accompaniment for Krebs throughout the session. Joe Romano's trumpet helps to end the album on an upbeat note with his muted contributions on "Jazz Gardener," one of two originals on the record. For most, more than one listening of Jazz Gardener will be necessary to fully appreciate Susan Krebs' way with music. This album is well worth the time and effort. ~Dave Nathan

Jazz Gardener

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Arne Domnerus - Jazz At The Pawnshop 2

Bitrate: MP3@320K/s
Time: 60:13
Size: 137.8 MB
Styles: Bop
Year: 1991/2011
Art: Front

[ 7:16] 1. Over The Rainbow
[ 7:30] 2. Gubben Och Kallingen
[10:30] 3. In A Mellow Tone
[ 6:33] 4. Nancy With The Laughing Face
[ 5:56] 5. High Life (Take 2)
[ 3:56] 6. Poor Butterfly
[ 6:14] 7. Exactly Like You
[ 9:09] 8. Things Ain't What They Used To Be
[ 3:05] 9. It Don't Mean A Thing It Don't Mean A Thing

The second of four volumes that fully document a 1976 engagement at the Pawnshop Jazz Club in Stockholm, Sweden, this set differs from the others in that vibraphonist Lars Erstrand is not present. Arne Domnerus (on alto and clarinet) heads a quartet also featuring pianist Bengt Hallberg, bassist Georg Riedel and drummer Egil Johnasen. Other than an African folk song (a second version of "High Life,") and a Swedish folk song, the repertoire is dominated by swing standards; highlights include a lengthy "In a Mellow Tone," "Poor Butterfly" and "Things Ain't What They Used to Be." ~Scott Yanow

Jazz At The Pawnshop 2

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Luciana Souza - Book Of Chet

Bitrate: MP3@320K/s
Time: 46:08
Size: 105.6 MB
Styles: Brazilian jazz vocals
Year: 2012
Art: Front

[5:37] 1. The Thrill Is Gone
[5:13] 2. Forgetful
[4:21] 3. He Was Too Good To Me
[5:40] 4. I Get Along Without You Very Well
[4:13] 5. Oh You Crazy Moon
[2:51] 6. The Touch Of Your Lips
[5:05] 7. The Very Thought Of You
[4:25] 8. I Fall In Love Too Easily
[4:12] 9. I Don't Stand A Ghost Of A Chance With You
[4:25] 10. You Go To My Head

Brazilian vocalist Luciana Souza pays tribute to legendary trumpeter/singer Chet Baker on her 2013 album The Book of Chet. The third album Souza has recorded with husband and producer Larry Klein, The Book of Chet also features guitarist Larry Koonse, bassist David Piltch, and drummer Jay Bellerose. Interestingly, while Souza has picked a handful of songs that will certainly will be recognizable to longtime Baker fanatics, these are definitely lesser known standards from Baker's catalog. Subsequently, there is no "My Funny Valentine" or "There Will Never Be Another You," and instead Souza delves into evocative versions of "Forgetful," "He Was Too Good to Me," "The Touch of Your Lips," and others. These are intimate, reflective recordings that capture Baker's laid-back melodicism. ~Matt Collar

Book Of Chet

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Mariza - Live In London

Size: 173,9 MB
Time: 75:57
File: MP3 @ 320K/s
Released: 2004
Styles: Fado, World
Art: Front

Personnel:
Guitar (Portuguese) – Luis Guerreiro
Acoustic Guitar – António Neto
Bass (Acoustic) – Fernando Baptista De Sousa
Piano – Tiago Machado
Trumpet – Guy Barker

The new queen of the Portuguese folk music known as fado shines in the impressive Mariza Live in London, a 2003 concert recorded at the Union Chapel in London. The twenty something Lisbon resident has been hailed as the successor to fado legend Amália Rodrigues; now, after two well-received CDs, comes Mariza's first filmed concert performance, and it is stunning.

No wonder fado has been compared to the blues: the actual musical content is different, but in terms of both origin (both come from a variety of cultures, in this case including strains of Spanish, Brazilian, and African sounds) and lyrical bent (with its constant element of saudade, roughly translated as yearning or longing, fado, like blues, is mournful, soulful music), it's every bit as deep.

Mariza is backed primarily by acoustic guitar, acoustic bass guitar, and "Portuguese guitar," a 12-string instrument that looks something like a lute and sounds a bit like a Greek bouzouki; there is some piano as well, and Guy Barker's muted trumpet provides "O Deserto" with a pronounced jazzy feel. But the singer is the main attraction here, and the power and passion of Mariza's delivery on "Barco Negro" and nearly all the others in the 16-song set, including more upbeat, celebratory numbers like "Oica La o Senhor Vinho" (the introductions are in English, but the tunes are all in Portuguese) are undeniable. Add to that Mariza's black cloak and clothing, her stylish, peroxide-blonde perm, and her highly theatrical movements and expressions, along with the darkened chapel and superb lighting, and you've got an audio-visual experience so dramatic and moving that it easily renders the language barrier irrelevant. ~Sam Graham

Live In London

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 45:36
Size: 105,9 MB
Art: Front

(6:29)  1. If I Could Be With You One Hour
(8:56)  2. Tin Tin Deo
(7:18)  3. Mariooch
(7:33)  4. All Too Soon
(7:26)  5. 28th And 8th
(7:52)  6. What Am I Here For

This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful. ~ Scott Yanow https://www.allmusic.com/album/jazz-reunion-mw0000195279

Personnel: Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Emmett Berry (trumpet); Bob Brookmeyer (trombone); Nat Pierce (piano); Milt Hinton (bass); Jo Jones (drums).          

Jazz Reunion

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Barbara Carroll - Old Friends

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 44:40
Size: 102,6 MB
Art: Front

(3:38)  1. Old Friends
(4:23)  2. Together Wherever We Go
(3:59)  3. Early Autumn
(4:21)  4. There Will Never be Another You
(3:29)  5. Looking At You
(6:13)  6. Dancing On The Ceiling
(3:59)  7. Can't We Be Friends
(5:08)  8. Too Soon
(3:43)  9. Aus Nossos Silhos
(5:44) 10. You Stepped Out Of A Dream

Entering her nineties, Barbara Carroll could boast that she had been playing piano for over 85 years. Not without a pause to sleep and eat, obviously, but with a determination that might suggest such extremes. Born Barbara Carole Coppersmith, she began the instrument at only five years old and went on to classical training three years later, eventually graduating from the New England Conservatory. In terms of professional stagecraft, her initial training ground was a USO tour during World War II in which she was part of an all-girl trio. This was quickly followed by leading her own trio on New York City's famous lane of jazz, 52nd Street, where she adopted a variation of her middle name, Carole, as a stage name. The pianist was associated with such fine players as guitarist Chuck Wayne and bassist Clyde Lombardi, but what would develop into an extensive discography began in 1949 with a recording session backing up multi-instrumentalist Eddie Shu for the Rainbow label.

Among female piano players, Carroll was known as the first to venture into the progressive bebop style that was especially associated with Bud Powell. Unlike the infamous Billy Tipton, Carroll also did not think it was necessary to hide the fact that she was a woman in jazz but this was New York City, not Oklahoma or the state of Washington. Not that Carroll had an easy time in a genre dominated by men. "People tended to put you down before they ever heard you," she commented. "If you were a girl piano player, the tendency was to say: 'Oh, how could she possibly play?' You never even got a chance to present what you could do. But then, if you did prove yourself, it almost became a commercial asset, in a sense; you were regarded as unique."

One audience that found Carroll to their liking was the high society crowd, becoming enamored with her during an extended run at the ultra-chic Embers supper club. Her group at the latter venue included the bassist Joe Shulman, whom she married in 1954. Carroll did not ignore the pop styles of subsequent decades, yet always managed to keep a strong jazz flavor present in whatever material she performed. If swing was a bay leaf, it would be said that Carroll had a large bush growing right outside her kitchen window. She recorded for many of the best labels in the genre including Verve and Atlantic and continued to be in demand at clubs and cabarets into her nineties, playing a regular gig at Manhattan's Birdland venue until December 2016. Carroll also worked as an actress on occasion, such as the Broadway play entitled Me and Juliet. She died in February 2017 at the age of 92. ~ Eugene Chadbourne  https://itunes.apple.com/us/album/old-friends/889301524

Personnel:  Barbara Carroll - Vocal; Phil Bodner - Reeds;  Jay Leonhart - Bass;  Grady Tate - Drums         

Old Friends

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Milton Nascimento - Courage

Styles: Vocal, Brazilian Bossa Nova 
Year: 1969
File: MP3@320K/s
Time: 34:27
Size: 81,1 MB
Art: Front

(3:52)  1. Bridges (Travessia)
(3:13)  2. Vera Cruz
(2:45)  3. Tres Pontas
(4:12)  4. Outubro (October)
(3:27)  5. Courage
(3:23)  6. Rio Vermelho
(3:26)  7. Gira Girou (Round 'N' Round)
(4:28)  8. Moro Velho
(2:31)  9. Catavento
(3:07) 10. Canção Do Sol (Saltworkers Song)

Milton Nascimento's first album for North American ears, recorded at Van Gelder Studios in New Jersey under the watchful eye and discerning ear of Creed Taylor, is a masterpiece, a gorgeously executed tour through his early songs. Backed beautifully by Eumir Deodato's lush orchestrations and a clutch of sidemen from the Taylor stable (including Herbie Hancock, Airto Moreira, and Hubert Laws), Nascimento unveils one first-class tune after another, many of which would ignite a rush of cover versions. Among the songs North Americans heard for the first time were "Vera Cruz," "Tres Pontas," "Morro Velho," the scatted "Catavento," and the intensely moving "Bridges" ("Travessia")" the latter which launched Nascimento's name on the world music scene. Singing in English, Portuguese, and often with no words at all, Nascimento's odd yet masculine and expressive baritone stands out like a moaning foghorn from the smooth A&M/Taylor sonic formula, a haunting combination. This was Nascimento before tropicalismo, when he latched onto the tail end of the bossa nova movement and quickly became one of its most inspired performers and songwriters. To some admirers, Courage remains his best record, period. ~ Richard S.Ginell https://www.allmusic.com/album/courage-mw0000199723   

Personnel:  Milton Nascimento - vocals;  Wayne Andre, Paul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch - trombone;  Burt Collins, Marvin Stamm - flugelhorn;  Ray Alonge, Joe DeAngelis, Paul Ingraham - French horn;  George Marge - clarinet;  Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo - flute;  Herbie Hancock - piano;  Eumir Deodato - organ, arranger, conductor;  Jose Marino - bass;  João Palma - drums;  Airto Moreira - percussion;  David Nadien, Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zatde, Joseph Zwilich - violin;  Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi - viola;  Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman - cello;  Anamaria Valle - vocal

Courage

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Pat LaBarbera - The Wizard

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 31:26
Size: 77,3 MB
Art: Front

(9:53)  1. Night And Day
(7:14)  2. Cattin'
(7:17)  3. You're A Weaver Of Dreams
(7:01)  4. The Wizard

The older brother of Joe LaBarbera (drummer with Bill Evans during 1978-1980) and arranger/trumpeter John LaBarbera, Pat has been a fixture in Toronto since moving to Canada in 1974. He played in a family band early on, attended Berklee (1964-1967), and gained recognition for his exciting solos with Buddy Rich's big band (1967-1973). After settling in Toronto (where he has done quite a bit of studio work), LaBarbera toured with Elvin Jones (1975-1978). He has recorded as a leader for PM, Sackville, and Justin Time. ~ Scott Yanow https://itunes.apple.com/sg/album/the-wizard/id632794082

Personnel:  Tenor Saxophone [Tenor Sax] – Pat LaBarbera;  Bass – Andy McCloud;  Drums – Bruno Biriaco;  Guitar – Roland Prince          

The Wizard

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Duke Robillard, Herb Ellis - More Conversations In Swing Guitar

Bitrate: MP3@320K/s

Time: 41:27

Size: 94.9 MB

Styles: Guitar jazz

Year: 2003

Art: Front

[7:31] 1. Moten Swing

[7:23] 2. Train to Texas

[6:47] 3. Robbin's Nest

[5:35] 4. Just You, Just Me

[7:32] 5. Blues For Terry

[6:35] 6. End Of Session Jump

Doubled instruments don't always mean doubled pleasure, but jazz great Herb Ellis and seasoned roots stylist Duke Robillard imparts just the right amount of contrast and just the right amount of chemistry to make for a memorable collaboration. This sequel to 1999's Conversations in Swing Guitar never falls back on swing convention or swing nostalgia, attaining an up-to-the-minute vitality. Varying his tangy Texas tone to spot-on effect on tunes ranging from the jazz classic "Just You, Just Me," to Robillard's torch-worthy "Blues for Terry," Ellis slides magnetically across the beat even as he propels it. Robillard, who produced the album, answers with fuller-bodied phrases that pay homage to Ellis' generation while reflecting the eclectic approach of his own era. As with all memorable conversations, the musicians--including the rhythmically fine-tuned acoustic guitarist Terry Holmes--hear every word the other has to say. ~Lloyd Sachs

More Conversations In Swing Guitar   

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Yo-Yo Ma - Obrigado Brazil (Remastered)

Bitrate: MP3@320K/s
Time: 71:27
Size: 163.6 MB
Styles: Classical crossover
Year: 2003
Art: Front

[2:50] 1. Cristal
[4:12] 2. Chega De Saudade
[3:07] 3. A Lenda Do Caboclo
[5:13] 4. Doce De Coco
[2:17] 5. Dansa Brasileira
[4:55] 6. Apelo
[3:29] 7. Dansa Negra
[2:38] 8. 1 X 0 (Um A Zero)
[5:34] 9. Menino
[5:17] 10. Samambaia
[4:47] 11. Carinhoso
[5:04] 12. Alma Brasileira
[3:52] 13. O Amor Em Paz
[9:49] 14. Bodas De Prata & Quatro Cantos
[3:23] 15. Brasileirinho
[4:53] 16. Salvador

As a cultural ambassador to the world, Yo-Yo Ma has immersed himself in the native music of many countries and taken away charming souvenirs of his musical explorations that he shares openly and without affectation. The chief characteristic of Ma's approach is his showcasing of other talents, with a modesty and generosity on his part that makes these performances all the more appealing. In Obrigado Brazil, Ma shares the spotlight with musicians of the highest caliber, including bossa nova singer Rosa Passos, guitar duo Sergio and Odair Assad, clarinetist Paquito d'Rivera, pianist Kathryn Stott, and percussionist Cyro Baptista, among many other stars. All the performers display deep feeling, energy, and conviviality, no doubt inspired by Ma's infectious goodwill and openhearted playing. Whether he engages the listener with popular numbers, such as the songs of Antonio Carlos Jobim and Pixinguinha, or with more classically tailored pieces by Heitor Villa-Lobos, Camargo Guarneri, and Egberto Gismonti, Ma offers a broad sampling of Brazil's diverse musical styles. From sorrowful choros to lively sambas, the spectrum of the country's music is well represented, and there is something here to please any armchair traveler. Sony's recording is excellent, with special attention directed to capturing instrumental color. ~Blair Sanderson

NEW LINK! Obrigado Brazil (Remastered)

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John Ricci - Holding Time

Bitrate: MP3@320K/s
Time: 49:15
Size: 112.7 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[ 4:46] 1. Mode Time
[ 8:46] 2. Ballerina
[ 7:29] 3. Here's That Rainy Day
[ 9:27] 4. Holding Time
[ 7:47] 5. Slow Tango
[10:56] 6. Bounce Blues

John Ricci: tenor saxophone; Joshua Bowlus: piano; Billy Thornton: bass; Peter Miles: drums.

Saxophonist/educator John Ricci comes out swinging for his debut recording Holding Time. The Jacksonville University Professor of Jazz Studies combines original compositions and arrangements of standards for an intriguing set of mainstream jazz.

The disc opens in vigorous fashion with the up-tempo "Mode Time," a perfect minor key workout for Ricci's robust tenor tone. The saxophonist weaves together a tight-knit solo, heavy on thematic development. Pianist Joshua Bowlus follows Ricci with a sweltering solo turn. The mood is lightened somewhat on the floating waltz "Ballerina." Here, Ricci is able to comfortably display his edgy, vibrato-laden phrasing, which straddles traditional swinging ideals and contemporary influences. The relatively straight reading of "Here's That Rainy Day," done as a quasi-samba, has accessible leanings and features a stand-out solo by bassist Billy Thornton. Ricci's full sweep of his horn's range, emphasizing his extensive bop vocabulary, is impressive. The bouncy title track swings with a deep pocket courtesy of Thornton and drummer Peter Miles. The hard-swinging momentum sets up inspired solo turns by Bowlus and Ricci. The haunting lyricism of "Slow Tango" contrasts nicely with the down and dirty blues of Ben Webster's "Bounce Blues," the session closer. The latter reveals the influence of not only the tune's composer, but of modern interpreters like Branford Marsalis.

Ricci is a convincing voice in the increasingly overcrowded world of jazz saxophone. His integrity and passion toward the advancement of his musical vision is evident throughout. ~John Barron

Holding Time

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Denise Donatelli - In The Company Of Friends

Bitrate: MP3@320K/s
Time: 55:02
Size: 126.0 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[4:36] 1. On Green Dolphin Street
[3:57] 2. The Thrill Is Gone
[7:44] 3. 'round Midnight
[3:56] 4. You Don't Know What Love Is
[7:13] 5. A Sleepin' Bee
[4:41] 6. Send In The Clowns
[4:27] 7. This Is New
[3:58] 8. If You Could See Me Now
[3:16] 9. Dream Dancing
[4:42] 10. A Roarin' Borin' Alice
[6:27] 11. When Summer Turns To Snow

Denise Donatelli - vocals, Tom Garvin - piano/arranger, Clay Jenkins - trumpet, Bob Sheppard - reeds, Andy Martin - trombone, Tom Peterson -tenor, Brian Scanlon -alto flute, Peter Woodford - guitar, Tom Warrington - bass, Steve Houghton - drums, Brian Kilgore - percussion.

Everything about In The Company of Friends is first class. For one thing, there is a sense of balance: between comfortable material and challenging reinvention, between brilliantly conceived arrangements (never cluttered) and sparse backgrounds, between ensemble playing and soloing, between singer and accompanist. Each tune is a fresh scenario with its own message, especially in the rhythm department. I've been playing the CD over and over since I got it, and I'm still not tired of it.

Denise Donatelli moved to Los Angeles recently from Atlanta. This is her first CD, and it came out of a working relationship with Tom Garvin. Her natural sound is out of the classic tradition of interpreting lyrics, but she sings about life in the new millennium. I cringed when I noticed yet another "Send in the Clowns, but it turned out to be my favorite cut. Instead of treating it as a dramatic showstopper, Donatelli and Garvin give it a subversive feel, possibly not far from Sondheim's original intent, with Donatelli floating wonderfully over the insistent rhythm and bending notes for meaning.

There is also humor (the broader variety) in "A Roarin' Borin' Alice, a Dave Frishberg-like original by Garvin and Pat Cooper. "If You Could See Me Now, a contrast to the ironic feel of some songs, features intimate storyteller Donatelli in a three-way dialog with Garvin and Brian Scanlon. A completely overhauled "Green Dolphin Street over a simmering modern tango rhythm is maybe the most interesting piece musically, with a new harmonic scheme and frequent key changes. An up-tempo "Dream Dancing also has a Latin backdrop, more evolved than the usual Cole Porter bolero, and there's a hint of "Pent-up House. Donatelli's marvelous sense of swing is front and center on "This is New, a cut that also features burning solos by Clay Jenkins and Bob Sheppard. She creatively recomposes the melody on a blues-tinged "Sleepin' Bee, generating some tension and urgency in the process. The band, premier musicians all, plays with particular conviction and crispness. There are no throwaway solos. ~Craig Jolley

In The Company Of Friends

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Carl Allen & Manhattan Projects - Picadilly Square

Bitrate: MP3@320K/s
Time: 57:39
Size: 132.0 MB
Styles: Bop, Straight ahead jazz
Year: 1993
Art: Front

[8:25] 1. Piccadilly Square
[4:12] 2. Autumn Leaves
[7:47] 3. 'round Midnight
[5:07] 4. Lullaby Of Birdland
[6:27] 5. Annie's Mood
[5:24] 6. The Biscuit Man
[4:03] 7. New Joy
[6:57] 8. What's New
[3:57] 9. In The Still Of The Night
[5:15] 10. Afterthoughts

Bass – Ira Coleman; Drums – Carl Allen; Flute, Alto Saxophone, Soprano Saxophone – Vincent Herring; Piano – Donald Brown; Trumpet – Freddie Hubbard (tracks: 1, 9), Roy Hargrove. Recorded 6 and 7 December 1989 at A&R Studio, New York

The music on this CD is very much in the Young Lions/modern hard bop vein. In this 1989 session, drummer Carl Allen leads a fairly young all-star group -- comprised of trumpeter Roy Hargrove, Vincent Herring on alto, soprano, and flute, pianist Donald Brown, and bassist Ira Coleman -- through five originals by bandmembers and five standards. Veteran trumpeter Freddie Hubbard sits in on "Piccadilly Square" (a rare chance for one to hear both Hubbard and Hargrove soloing on the same number) and "In the Still of the Night." Few surprises occur, but the musicians (particularly Herring) play up to expectations and fans of hard bop will enjoy this. ~Scott Yanow

Picadilly Square

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Dave Brubeck, Paul Desmond - Dave Brubeck & Paul Desmond

Bitrate: MP3@320K/s
Time: 75:11
Size: 172.1 MB
Styles: Cool jazz
Year: 1982
Art: Front

[7:22] 1. Jeepers Creepers
[2:39] 2. On A Little Street In Singapore
[2:14] 3. The Trolley Song (Rehearsal)
[3:20] 4. The Trolley Song
[2:51] 5. I May Be Wrong
[8:13] 6. Blue Moon
[3:22] 7. My Heart Stood Still
[7:17] 8. Let's Fall In Love
[5:02] 9. Over The Rainbow
[7:49] 10. You Go To My Head
[7:03] 11. Crazy Chris
[6:51] 12. Medley-Give A Little Whistle-Oh, Lady Be Good
[6:56] 13. Tea For Two
[4:06] 14. This Can't Be Love

Alto Saxophone – Paul Desmond (tracks: 1 to 6, 8 to 15); Bass – Ron Crotty (tracks: 1, 3, 4, 6, 8, 11, 14), Wyatt Ruther (tracks: 2, 5, 15); Drums – Herb Barman (tracks: 15), Joe Dodge (tracks: 3, 4), Lloyd Davis (tracks: 1, 2, 5, 6, 8, 12 to 14); Piano – Dave Brubeck.

Two greats interact here, in recordings from 1952-54, with stunning intuition. Brubeck, as always, makes a virtue of his limited fleet-fingeredness. He has no need to hurry in the company of Paul Desmond, an alto saxophonist akin to Getz--light and never imbalanced. His and Brubeck's musical rapport had been forged in Brubeck's earlier octet and would continue for many years in his sterling quartet. The program here emphasizes standards. There is light combo support on some tracks. For "On a Little Street in Singapore," Brubeck and Desmond take a thoughtful, fragile jaunt through foreign streets. In "Trolley Song," the trolley bell sounds in Desmond's ringing horn. On "My Heart Stood Still," the pianist is alone, hammering heartily in his folksy, front-parlor way. ~Peter Monaghan

Dave Brubeck & Paul Desmond

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Milton Nascimento - Encontros e Despedidas

Styles: Vocal, Brazilian Bossa Nova
Year: 1985
File: MP3@320K/s
Time: 40:38
Size: 93,7 MB
Art: Front

(4:10)  1. Portal da cor
(3:22)  2. Caso de amor
(2:36)  3. Noites do sertão
(3:26)  4. Mar do nosso amor
(3:43)  5. Lágrimas do sul (Para Winnie Mandela)
(2:53)  6. Raça
(3:36)  7. Encontros e despedidas
(3:56)  8. Quem perguntou por mim
(5:02)  9. A primeira estrela
(4:46) 10. Vidro e corte
(3:03) 11. Rádio experiência

Encontros e Despedidas is an album by singer / songwriter Milton Nascimento , released in 1985 by the label Barclay . The album followed the sequence of hits that it had in records like Sentinela (1980), Hunter of Me (1981), Anima (1982) and Ao Vivo (1983) having tracks like "Portal of Color", "Radio Experience", "Nights (composed in partnership with Tavinho Moura), "Raça" that was originally released on the album Milton (1976), the album also has the tracks "Glass and Cut" which features the presence of guitarist Pat Metheny and also the song "Encontros e Despedidas", one of the singer's greatest hits, with the presence of flutist Hubert Laws . The track "Pra Eu Parar de Me Doer" is only available in CD format, originally in the European edition by the Polydor label and was not in the first Brazilian edition on CD by Philips , this would only reappear in the series of reissues made for the box of the singer in 1997. Translate by google https://pt.wikipedia.org/wiki/Encontros_e_Despedidas?

Encontros e Despedidas

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Laurie Beechman - Listen To My Heart

Styles: Vocal
Year: 1990
File: MP3@320K/s
Time: 57:13
Size: 131,2 MB
Art: Front

(4:20)  1. Listen To My Heart
(3:23)  2. Look To The Rainbow
(4:09)  3. Unexpected Song
(2:12)  4. Everybody Says Don't
(3:01)  5. Since You've Asked
(2:12)  6. I Got Rhythm
(3:27)  7. Sailin' On
(3:47)  8. Anyone Who Had A Heart
(4:04)  9. I Dreamed A Dream
(5:42) 10. Sail Away/Shiver Me Timbers [Medley]
(3:25) 11. Believe It Or Not
(5:07) 12. Memory
(3:25) 13. What I Was Dreamin' Of
(4:53) 14. Here Is The Heart
(4:00) 15. I'll Be Here With You

Broadway star and recording artist Laurie Beechman grew up in the Philadelphia area, the daughter of a singing restaurant owner and a mother who worked in community theater. She studied drama at New York University, but dropped out after two years and remained in New York singing in a rock band. In 1977, she made her Broadway debut in Annie, also making her recording debut on the cast album, and voiced a character in the children's television movie The Fourth King. She appeared in the film version of the Broadway musical Hair in 1979 and was on the soundtrack album. In 1980, her band, Laurie & the Sighs, released a self-titled album on Atlantic Records and toured. She returned to Broadway in Pirates of Penzance in 1981, then got her first substantial role in a Broadway musical playing the part of the Narrator in Joseph and the Amazing Technicolor Dreamcoat, which earned her a Tony Award nomination in 1982. In 1983, she was cast in the role of Grizabella in the first national touring production of Cats, then moved to Broadway in the part, remaining with the show more than for five years. She was diagnosed with ovarian cancer in 1989, but managed to continue her career during periods of remission from the disease. In 1990, she took over the role of Fantine in the Broadway production of Les Miserables, playing the part for six months. That November, she released her debut album, Listen to My Heart, on DRG Records. In October 1992, she married Neil Mazzella, a theatrical set builder. She performed in cabaret and in concert, with occasional returns to Broadway and regional theater. She released her second album, Time Between the Time, in 1993, and her third, The Andrew Lloyd Webber Album, on Varèse Sarabande, in 1995. Her fourth and final album, No One Is Alone, a collection of inspirational songs from Broadway musicals, was released in 1996. She died of complications from ovarian cancer in 1998. ~ William Ruhlmann ?https://itunes.apple.com/us/artist/laurie-beechman/18312869

Listen To My Heart

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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

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