Herb Hall - Old Tyme Modern

Styles: Clarinet Jazz
Year: 1969
File: MP3@320K/s
Time: 39:46
Size: 91,7 MB
Art: Front

(3:44)  1. Old Fashioned Love
(4:50)  2. All Of Me
(3:21)  3. Buddy Bolden's Blues
(4:54)  4. Crying My Hear Out For You
(4:12)  5. Swinging Down Shaw's Hall
(3:57)  6. Beale Street Blues
(2:34)  7. How Come You Do Me Like You Do
(3:36)  8. Willow Weep For Me
(4:53)  9. Do You Know What It Means To Miss New Orleans
(3:41) 10. Sweet Georgia Brown

A member of a distinguished New Orleans musical family, Herb Hall was the youngest of 5 brothers. His brother Edmund became a world-renowned clarinetist. After time in San Antonio and Philadelphia, Hall moved to New York and joined the Eddie Condon band in 1957. He toured France and North America with Sammy price and generated much excitement on Louisiana Lament, a studio session for Vogue. In '67 Hall shared the stage in Toronto with Don Ewell and a year later with The Jazz Giants (issued as Wild Bill Davison, the Jazz Giants, Sackville 3002). This all-star band returned to Toronto several times and it was on one of these tours that Herb recorded this quartet date on January 10, 1969. ~ Editorial Reviews https://www.amazon.com/Old-Tyme-Modern-Herb-Hall/dp/B000001741

Personnel: Herb Hall - Clarinet;  Claude Hopkins - Piano;  Arvell Shaw - Bass;  Buzzy Drootin - Drums

Old Tyme Modern

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Gary Peacock - Shift In The Wind

Styles: Post-Bop, Avant-Garde Jazz 
Year: 1981
File: MP3@320K/s
Time: 47:33
Size: 123,9 MB
Art: Front

( 6:15)  1. So Green
( 5:03)  2. Fractions
( 8:15)  3. Last First
( 5:51)  4. Shift In The Wind
( 6:56)  5. Centers
(10:01)  6. Caverns Beneath The Zoth
( 5:10)  7. Valentine

Bassist Gary Peacock teams up with the underrated pianist Art Lande and drummer Eliot Zigmund for a set of group originals that emphasize close communication between the trio members, really an extension on the innovations of Bill Evans. The interplay between these masterful musicians is more significant than the actual compositions and rewards repeats listenings. ~ Scott Yanow https://www.allmusic.com/album/shift-in-the-wind-mw0000653451 

Personnel: Gary Peacock (bass); Art Lande (piano); Eliot Zigmund (drums).        

Shift In The Wind

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Barre Phillips - Mountainscapes

Styles: Contemporary Jazz
Year: 1976
File: MP3@320K/s
Time: 37:43
Size: 93,1 MB
Art: Front

(5:54)  1. Mountainscapes I
(2:48)  2. Mountainscapes II
(4:23)  3. Mountainscapes III
(4:29)  4. Mountainscapes IV
(4:53)  5. Mountainscapes V
(4:36)  6. Mountainscapes VI
(3:24)  7. Mountainscapes VII
(7:12)  8. Mountainscapes VIII

In his classic case study of Melanesian cargo cults, Mambu, anthropologist Kenelm Burridge introduced the concept of the myth-dream, which he reduces to “a series of themes, propositions, and problems which are to be found in myths, in dreams, in the half-lights of conversation, and in the emotional responses to a variety of actions, and questions asked.” According to Burridge, what makes any such cult successful is the immediacy with which its figurehead is able to articulate the myth-dream, unleashing a barely conscious longing to know and resolve that which lurks in our mental shadows. The resulting destabilization is a shared process of salvation. I dare to claim the music of Barre Phillips as providing that same function. It embodies a psychological imperative to bring into focus that which inhabits the half-light of our awareness, and fulfills that need through sound. The only difference is that, here, there is neither the promise of salvation nor of migration, but rather the simple need to soak in the immediate essence of wherever one may stand.

Mountainscapes is divided into eight parts of spirit-tugging magnificence, products of a mind that, though only cursorily represented on ECM, has done us a great service in recording his sounds for posterity. Mountainscape I hovers at the margins before unleashing a crackling free groove. The beautifully synthesized sounds and enthralling bass playing, not to mention an absolutely captivating soprano solo from reedman extraordinaire John Surman, give us a rich taste of resolution. It is an unexpected transition, one that jolts the heart into awareness every time. II is a quieter follow-up, enigmatic, peripheral. Like the myth-dream, it lingers just beyond our reach, baiting our desire to know it in full. III is an exquisite piece enhanced by organ and electronics. In IV, the bass becomes a huge rope hefted and swung like a mast cord in a seasoned shipmate’s hands before a saxophonic wind illuminates its sails. The drums never quite stand upright, crossing their feet instead in a continual swagger. V fades in with a synthesized arpeggio. Some sinuous bass notes and a stellar saxophone peek out from the woodwork here. The bass thrums like a groaning in the earth. Meanwhile, a synthesizer bubbles to the surface before fading into transfiguration. VI begins with a lavish wash of electronics embroidered by Phillips’s harmonic threads. It’s a short track, but for me the most effective on the album. VII begins with more pulchritudinous arpeggiation. The sax trails along, trying to place its footsteps in the same imprints as the bass trails not to far behind: the trio as mise-en-abyme. An electric guitar surprises us in the final part, wound by an enthralling sax to feverish heights and playing us out in a gentle finale. In the end, this is music to be experienced rather than described. And so, I will stop trying. https://ecmreviews.com/2010/12/17/mountainscapes/?

Personnel:  Barre Phillips bass;  John Surman soprano and baritone saxophones, bass clarinet, synthesizer;  Dieter Feichtner synthesizer;  Stu Martin drums, synthesizer;  John Abercrombie guitar

Mountainscapes

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Woody Herman - The Philips Recordings (2-Disc Set)

A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a good soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz was as the leader of a long line of big bands. He always encouraged young talent and, more than practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman was always stuck performing a few of his older hits (he played "Four Brothers" and "Early Autumn" nightly for nearly 40 years), he much preferred to play and create new music.

Woody Herman began performing as a child, singing in vaudeville. He started playing saxophone when he was 11, and four years later he was a professional musician. He picked up early experience playing with the big bands of Tom Gerun, Harry Sosnik, and Gus Arnheim, and then in 1934, he joined the Isham Jones orchestra. He recorded often with Jones, and when the veteran bandleader decided to break up his orchestra in 1936, Herman formed one of his own out of the remaining nucleus. The great majority of the early Herman recordings feature the bandleader as a ballad vocalist, but it was the instrumentals that caught on, leading to his group being known as "the Band That Plays the Blues." Woody Herman's theme "At the Woodchopper's Ball" became his first hit (1939). Herman's early group was actually a minor outfit with a Dixieland feel to many of the looser pieces and fine vocals contributed by Mary Ann McCall, in addition to Herman. They recorded very frequently for Decca, and for a period had the female trumpeter/singer Billie Rogers as one of its main attractions.

Woody Herman returned to emphasizing straight-ahead jazz by the late '70s. By then, he was being hounded by the IRS due to an incompetent manager from the 1960s not paying thousands of dollars of taxes out of the sidemen's salaries. Herman, who might very well have taken it easy, was forced to keep on touring and working constantly into his old age. He managed to put on a cheerful face to the public, celebrating his 50th anniversary as a bandleader in 1986. However, his health was starting to fail, and he gradually delegated most of his duties to Frank Tiberi before his death in 1987. Tiberi continued to lead a Woody Herman Orchestra on a part-time basis but it never had the opportunity to record. Fortunately, Herman was well documented throughout all phases of his career, and his major contributions are still greatly appreciated. ~ Scott Yanow

Album: The Philips Recordings (Disc 1)
Bitrate: MP3@320K/s
Time: 76:20
Size: 174.8 MB
Styles: Big band
Year: 2011
Art: Front

[6:43] 1. Mo-Lasses
[3:29] 2. Blues For J.P
[4:17] 3. Don't Get Around Much Anymore
[4:16] 4. Tunin' In
[3:26] 5. Sister Sadie
[3:49] 6. Sig Ep
[3:05] 7. It's A Lonesome Old Town (When You're Not Around)
[8:15] 8. Camel Walk
[2:54] 9. Moon River
[3:23] 10. Hallelujah Time
[3:48] 11. Deep Purple
[4:37] 12. Jazz Hoot
[3:13] 13. A Taste Of Honey
[3:18] 14. Satin Doll
[5:13] 15. After You've Gone
[3:08] 16. The Strut
[3:29] 17. My Wish
[5:49] 18. Cousins

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Album: The Philips Recordings (Disc 2)
Bitrate: MP3@320K/s
Time: 60:13
Size: 137.9 MB
Styles: Big band
Year: 2011
Art: Front

[4:00] 1. That's Where It Is
[5:41] 2. Watermelon Man
[4:55] 3. Body And Soul
[5:29] 4. Better Get It In Your Soul
[2:57] 5. Jazz Me Blues
[4:49] 6. El Toro Grande
[3:22] 7. Days Of Wine And Roses
[7:46] 8. Caldonia
[3:20] 9. Wailin' In The Woodshed
[2:30] 10. The Good Earth
[2:47] 11. Sidewalks Of Cuba
[3:49] 12. I Can't Get Started
[3:37] 13. Bijou
[5:05] 14. Apple Honey

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Carminho - Carminho Canta Tom Jobim

Bitrate: MP3@320K/s
Time: 45:29
Size: 104.1 MB
Styles: Fado
Year: 2016
Art: Front

[3:57] 1. A Felicidade
[2:59] 2. O Que Tinha De Ser
[4:03] 3. Estrada Do Sol (Feat.Marisa Monte)
[3:10] 4. Meditação
[2:39] 5. Luiza
[3:32] 6. Falando De Amor (Feat.Chico Buarque)
[3:10] 7. Wave
[3:39] 8. Sabiá
[3:18] 9. O Grande Amor
[2:46] 10. Retrato Em Branco E Preto
[3:24] 11. Inútil Paisagem
[2:58] 12. Triste
[3:19] 13. Modinha (Feat.Maria Bethânia)
[2:30] 14. Don't Ever Go Away

Wise is the traveler who dives into another culture without losing her own identity, who enables both visitor and host to see themselves in a new light. So it is that Carminho, a pre-eminent star of the fado renaissance, brings her made-in-Portugal voice to songs by the late Brazilian composer Antônio Carlos Jobim, the patriarch of bossa nova. An invitation from Jobim’s family prompted "Carminho Sings Tom Jobim," the offer including accompaniment by the master’s band—guitarist Paulo Jobim (son), pianist Daniel Jobim (grandson), cellist Jaques Morelenbaum and drummer Paulo Braga. The 14 tracks also include duets with Marisa Monte, Chico Buarque and Maria Bethânia. Carminho carefully chose songs in which the musicality of opposing accents is closely matched (among other things, Brazilian Portuguese is less formal and has more open vowels than its European counterpart). The Lisbon-Rio chemistry is especially good with Monte in "Estrada do Sol" (Road to the Sun): “Give me your hand,” they sing, “Let’s go outside without thinking/About what I’ve suffered/Because our morning has made me forget.” Carminho’s fado passion soars and dances on the crests of Wave: “I know from that wave that rose in the sea/And from the stars we forgot to count/That love lets itself be surprised/While the night comes to wrap itself around us.” Her fado melancholy perfectly suits the saudade that unites the two Lusophone cultures in Sabiá (Song of the Thrush), with Jobim’s metaphors for vanished love; and she floats elegantly through O Grande Amor (Great Love), proclaiming, “There’s always a man for every woman/Always a false love you have to forget.” In music as in love, all is reciprocal: A fado singer dives into the Jobim canon, and when she emerges both are refreshed. ~Alan Tigay

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Ivan Lins - Intimate

Bitrate: MP3@320K/s
Time: 55:38
Size: 127.4 MB
Styles: Brazilian traditions, Latin jazz
Year: 2015
Art: Front

[4:31] 1. Tanto Amor (Feat. Till Brönner)
[4:16] 2. Arrependimento (Feat. Antonio Serrano)
[3:05] 3. Sou Eu
[4:17] 4. No Tomorow Acaso (Feat. Trijntje Oosterhuis)
[2:52] 5. Nosso Acalanto That's Love (Feat. Take 6)
[3:43] 6. Dandara (Feat. Abaqondisi Brothers)
[4:20] 7. Llegaste (Feat. Alejandro Sanz & Leonardo Amuedo)
[3:57] 8. Rio Sun E A Gente Assim Täo Só (Feat. Till Brönner)
[3:40] 9. Diadema (Feat. Jorge Drexler & Frits Landesbergen)
[5:32] 10. Le Dernier Mot Bilhete (Feat. Laura Fygi & Antonio Serrano)
[3:47] 11. Tchau, Tristeza (Feat. Leonardo Amuedo)
[4:45] 12. Meu Espelho Crystal Clear (Feat. Jane Monheit)
[4:33] 13. A Cor Do Pôr-Do-Sol
[2:14] 14. Mãos De Fada (Para Valéria)

Renowned as a carioca songwriter, vocalist, and pianist, Ivan Lins recorded several albums for EMI Brasil and Reprise, as well as writing Brazilian standards. Born in 1945, Lins came to fame in Brazil in 1970 when Elis Regina recorded his song "Magdalena" for a hit. His worldwide debut, A Noite, appeared in 1979. Lins' most famous composition, "Love Dance" ("Lembrança"), has been recorded by dozens of jazz artists, including Kenny Burrell, Sarah Vaughan, Betty Carter, Nancy Wilson, Mark Murphy, George Benson, Diane Schuur, and James Blood Ulmer. Other noted songs by Lins ("The Island," "Comecar de Novo," "Dona Palmeira," "Nocturna") have been recorded by artists including Airto Moreira, Herbie Mann, and Terence Blanchard. ~ John Bush

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Eddie Thompson - Piano Mood

Bitrate: MP3@320K/s
Time: 47:19
Size: 108.3 MB
Styles: Piano jazz
Year: 2014
Art: Front

[4:38] 1. My Romance
[8:09] 2. One Mohr Time
[6:55] 3. Jitterbug Waltz
[3:46] 4. How Could You Do A Thing Like That To Me
[5:07] 5. Soft Winds
[4:53] 6. Spring Is Here
[5:02] 7. I Wish I Were In Love Again
[8:46] 8. Tea For Two

A wicked little set from British pianist Eddie Thompson – a player who always wasn't as well noticed on this side of the Atlantic, but who will forever be remembered for this classic date for MPS! The set's got a great criss-crossing of styles – a punctuated way of playing the keys with roots that go back to jazz piano of the pre-war years – yet a flowing, open approach to the groove that's also pure MPS too – kind of a timeless match that's really compelling, and which makes the record unlike anything else we can think of from the time. The trio features Tony Archer on bass and Terry Jenkins on drums – and titles include "Jitterbug Waltz", "I Wish I Was In Love Again", "Tea For Two", "Spring Is Here", and "My Romance", plus the nicely grooving original, "One Mohr Time".

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John Coltrane - Chasing Trane: The John Coltrane Documentary

Bitrate: MP3@320K/s
Time: 74:35
Size: 170.8 MB
Styles: Soundtrack
Year: 2017
Art: Front

[ 7:42] 1. A Love Supreme, Pt. I (Acknowledgement)
[ 5:33] 2. Russian Lullaby
[ 6:04] 3. Trane's Slo Blues
[ 4:44] 4. Giant Steps
[ 2:41] 5. My Favorite Things, Pt. 1
[ 4:53] 6. My One And Only Love
[ 5:08] 7. Alabama
[ 4:09] 8. After The Rain
[ 9:11] 9. Moment's Notice
[ 8:19] 10. I Want To Talk About You
[16:07] 11. Chasin' The Trane

This soundtrack features 11 tracks from the film, Chasing Trane: The John Coltrane Documentary. Set against the social, political & cultural landscape of the time, it brings saxophone great John Coltrane to life, as a man & an artist. The CD booklet includes images from the film & an essay by John Coltrane author & film participant, Ashley Kahn.

Movie Info: CHASING TRANE is the definitive documentary film about an outside-the-box thinker with extraordinary talent whose boundary-shattering music continues to impact and influence people around the world. This smart, passionate, thought-provoking and uplifting documentary is for anyone who appreciates the power of music to entertain, inspire and transform. Written and directed by critically-acclaimed documentary filmmaker John Scheinfeld (The U.S. vs. John Lennon and Who Is Harry Nilsson...?) the film is produced with the full participation of the Coltrane family and the support of the record labels that collectively own the Coltrane catalog. Scheinfeld brings his strong story-telling skills to the creation of a rich, textured and compelling narrative that takes the audience to unexpected places. Set against the social, political and cultural landscape of the times, CHASING TRANE brings John Coltrane to life as a fully dimensional being, inviting the audience to engage with Coltrane the man, Coltrane the artist.

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Johnny Nocturne Band - Blues Volume

Bitrate: MP3@320K/s
Time: 43:02
Size: 98.5 MB
Styles: Blues/Jazz/R&B
Year: 2002
Art: Front

[3:41] 1. Hound Dog
[2:34] 2. Young Woman's Blues
[4:12] 3. 29 Ways
[4:34] 4. Person To Person
[2:35] 5. Is There Something On Your Mind
[4:05] 6. Lee Allen
[3:36] 7. Wild Wig
[4:27] 8. It's My Own Fault
[2:53] 9. Gee I Wish
[0:48] 10. Sunshine Of Your Love
[4:24] 11. Historie Un Amor
[5:09] 12. Since I Fell For You

Tenor saxist John Firmin's "Johnny Nocturne Band's" album "Blues Volume" is the most blues and roots oriented of the band's five recordings. With the addition of new vocalist Miss Dee the band digs into a repertoire of blues based material that runs the gamut from classic Bessie Smith (Young Woman's Blues), jugband style instrumental (Lee Allen), to the big band sophistication of Buddy Johnson (Since I Fell For You), with some Latin for extra spice (Historie Un Amor). Former featured vocalist with the lengendary Johnny Otis Band, Miss Dee brings an original approach to these blues and r&b selections further establishing her reputation as a unique songstylist. "Blues Volume" is another exciting chapter in the Nocturne Band' continuing musical saga..

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Cassandra Wilson - Another Country

Bitrate: MP3@320K/s
Time: 43:34
Size: 99.7 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[4:31] 1. Red Guitar
[4:14] 2. No More Blues
[5:38] 3. O Sole Mio
[2:25] 4. Deep Blue
[4:22] 5. Almost Twelve
[5:20] 6. Passion
[6:23] 7. When Will I See You Again
[4:11] 8. Another Country
[3:24] 9. Letting You Go
[3:02] 10. Olomuroro

Creatively, Cassandra Wilson has never rested on her laurels, and her new album, Another Country, is no exception to the rule. Nine of the ten songs are composed by Ms. Wilson and/or her collaborating partner, guitarist-producer Fabrizio Sotti, with the tenth a very special arrangement by the duo of the classic aria, O Sole Mio. Recorded in Florence, Italy, the entire sound of the album is intimate, guitar-driven, and lushly romantic. Launched by the lead single, Red Guitar, Another Country is poised to invigorate Cassandras intensely loyal fan base as well as greet new audiences.

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Benny Goodman - The Benny Goodman Story

Bitrate: MP3@320K/s
Time: 60:27
Size: 138.4 MB
Styles: Big band
Year: 1955/1985
Art: Front

[3:08] 1. Down South Camp Meetin'
[3:11] 2. And The Angels Sing
[3:12] 3. Good-Bye
[7:22] 4. Sing, Sing, Sing (Parts 1 & 2)
[1:04] 5. Shine
[3:51] 6. One O'clock Jump
[2:45] 7. Bugle Call Rag
[3:01] 8. King Porter Stomp
[0:43] 9. Let's Dance
[3:01] 10. Don't Be That Way
[2:55] 11. It's Been So Long
[2:47] 12. Sometimes I'm Happy
[2:32] 13. Goody Goody
[3:13] 14. Avalon
[3:24] 15. Moonglow
[3:42] 16. Alicia's Blues
[3:17] 17. Memories Of You
[3:33] 18. China Boy
[3:37] 19. Seven Come Eleven

This is an amazing recording from 1955 that features Benny with an all-star studio orchestra featuring Harry James, Lionel Hampton, and Ruby Braff. These re-recordings of some of Benny's most famous songs are stunning replicas of vintage 1930s style swing a la Fletcher Henderson as they were meant to be heard, in clear, brilliant Hi-Fi sound. Some of these arrangements even come close to surpassing the original recordings, such as "Down South Camp Meetin'" (with the driving bass line provided by George Duvivier propelling the whole thing). Also, Benny himself sounds fresh and inspired in this session, playing with more fire and energy than in any other of his fifties recordings. Just one drawback, Bobby Donaldson and Don Lamond fail to capture the Krupa magic with their drumming as evident by "Sing, Sing, Sing" (Donaldson) and "Don't Be That Way" (Lamond). Wouldn't it have been great if Gene Krupa would have been present at this session with Goodman and James as he was in the film version? Nonetheless, this is a must-have BG CD, one that documents his real contribution to jazz. ~Amazon

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Eight To The Bar - The Joint Is Jumpin'!

Bitrate: MP3@320K/s
Time: 40:14
Size: 92.1 MB
Styles: Swing, Soul
Year: 1983/2005
Art: Front

[3:03] 1. No Doubt In My Mind
[6:25] 2. Play It On Your Saxophone
[2:55] 3. I Wanna Rock
[2:48] 4. Hold Tight
[4:41] 5. Cold, Cold, Cold
[3:50] 6. Beat Me Daddy, Eight To The Bar
[2:48] 7. I Heard It Through The Grapevine
[2:24] 8. It Don't Mean A Thing If It Ain't Got That Swing
[4:21] 9. Sing, Sing, Sing
[2:55] 10. Demon Rum
[3:58] 11. Heart Like A Lion

This CD, originally released in 1981, has been recently re-issued by popular demand. The CD was Eight to the Bar's first, recorded at a live gig at a major venue in New England, Toad's Place in New Haven, CT. You can hear the excitement as the packed house cheers the band on. Many of the band's classic original tunes, such as the searing rock saxophone jam, "Play It On Your Saxophone" came from this record. The band's highest energy record ever.

Drawing its musical influences from American roots music -- swing, boogie-woogie, and Motown, Eight to the Bar is known for its outstanding instrumentalists and sophisticated musical and vocal arrangements, highlighted by female vocals. With the support of independently produced CDs and videos, Eight to the Bar has cultivated a large, enthusiastic following that has put them in clubs from Maine to Miami as well as Europe and the Caribbean. Their rigorous touring schedule has included opening spots for Big Bad Voodoo Daddy, Manhattan Transfer, Robert Cray, the late Roy Orbison and Ray Charles, several European tours, and most recently, a tour of the Republic of Georgia at the invitation of the U.S. Embassy located there.

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Tony DeSare - Night Life

Bitrate: MP3@320K/s
Time: 39:31
Size: 90.5 MB
Styles: Vocal, Cabaret
Year: 2017
Art: Front

[3:30] 1. All Of Me
[3:41] 2. It's All Right With Me
[5:18] 3. Can't We Be Friends
[3:08] 4. If I Fell
[5:01] 5. To Make You Feel My Love
[3:43] 6. Lover Come Back To Me
[5:17] 7. Lush Life
[2:46] 8. Sabre Dance Boogie
[3:09] 9. In The Wee Small Hours
[3:55] 10. How I Will Say I Love You

Pianist/vocalist Tony Desare is a jazz musician and crooner in the tradition of Frank Sinatra and Nat King Cole as well as such revivalists as Harry Connick, Jr. and John Pizzarelli. A native of New York State, Desare began playing piano at a young age and by 17 had more than a few live performances under his belt. During his time at Ithaca College, Desare continued performing and developed a loyal following around upstate New York. Moving to New York City in 1998, he nabbed a gig playing at the Marquis Hotel in Times Square and eventually landed a role in the off-Broadway musical Our Sinatra. A chance meeting with guitarist Bucky Pizzarelli during a performance at the Apollo Theater led to numerous projects between the up-and-coming Desare and the journeyman Pizzarelli.

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Ann Peebles - Tellin' It

Bitrate: MP3@320K/s
Time: 32:35
Size: 74.6 MB
Styles: R&B, Memphis soul
Year: 1975/2014
Art: Front

[2:53] 1. Come To Mama
[2:49] 2. I Don't Lend My Man
[4:57] 3. I Needed Somebody
[3:07] 4. Stand By Woman
[2:55] 5. It Was Jealousy
[3:05] 6. Doctor Love Power
[4:34] 7. You Can't Hold A Man
[3:05] 8. Beware
[2:39] 9. Put Yourself In My Place
[2:26] 10. Love Played A Game

Ann Peebles was at the height of her fame in 1975 when she cut the album Tellin' It -- she had scored her biggest chart hit the year before with "I Can't Stand the Rain," and Tellin' It reflected the kind of hard-edged but soulful groove that had taken Peebles to the upper reaches of the charts (and was producer Willie Mitchell's stock in trade). The album's opening cut, "Come to Mama," even features the same sort of fractured rhythmic undercurrent that had hooked "I Can't Stand the Rain," but Peebles and Mitchell had the good sense not to deliver ten remakes of her hit; instead, Tellin' It merges polished production with tough, sinewy grooves (the strings on "Stand By Woman" and "It Was Jealousy" add a touch of class, but don't clutter up the funk of Howard Grimes' superb drumming and the punch of the Memphis Horns), and Peebles here reaffirms her status as one of the best female voices in R&B, cutting to the heart and soul of each lyric whether she's looking for a new man ("Doctor Love Power") or breaking up someone's previously happy home ("Stand By Woman"). And while the disco explosion would make soul sets like this obsolete in a few years, Tellin' It features plenty of cuts that can fill the dancefloor without robbing Peebles of her soulful passion and sassy spirit. Fine stuff. ~Mark Deming

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Celtic Thunder - The Show

Bitrate: MP3@320K/s
Time: 50:38
Size: 115.9 MB
Styles: Celtic pop
Year: 2007
Art: Front

[6:20] 1. Heartland (2015 Show Version)
[3:17] 2. The Mountains Of Mourne
[3:21] 3. The Voyage
[3:34] 4. Come By The Hills
[3:40] 5. Remember Me (Recuerdame)
[3:34] 6. Desperado
[3:09] 7. Steal Away
[3:53] 8. The Island
[3:42] 9. The Old Man
[3:29] 10. Brothers In Arms
[3:20] 11. Lauren & I
[2:47] 12. Puppy Love
[3:01] 13. Cal Local Hero
[3:23] 14. Ireland's Call

A show rather than a group, Celtic Thunder was conceived by Sharon Browne and written and arranged by Phil Coulter and designed as a contemporary exploration of Celtic music, which means it falls to the pop-dance side of the spectrum more than it does to the traditional side. The show was staged, recorded, and filmed in Dublin in August of 2007 and featured five male vocalists, Damian McGinty (only 14 years old when the show was recorded), Keith Harkin, Paul Byrom, Ryan Kelly, and George Donaldson, rotating leads through a set of traditional and contemporary songs, several of them written by Coulter. A CD and DVD of the event appeared from Decca in 2008. The quintet's 2009 sophomore effort, Take Me Home, was stocked with traditional Irish and Scottish ballads peppered with a handful of pop/rock covers, while 2010's It's Entertainment relied exclusively on commercial pop hits. Celtic Thunder returned to their roots for 2011's Heritage, a meld of new and traditional material. Paul Byrom left before the album was complete, having recorded numerous tracks for the set before leaving; he was replaced by Emmet Cahill, although both men appear on the recording. Storm, a full theatrical production, arrived that same year, followed by Voyage and Voyage II in 2012 and the group's tenth album, Mythology, in 2013. Celtic Thunder vocalist George Donaldson died of a heart attack at his home in Glasgow, Scotland in March of 2014. February 2016 saw the release of Legacy, Vol. 1, which featured Colm Keegan, Keith Harkin, Ryan Kelly, Emmett O'Hanlon, and Neil Byrne reuniting with guest artist -- and Glee! star -- Damian McGinty for a live show celebrating the influence of Irish and Celtic music around the world. Legacy, Vol. 2, which featured the same lineup and focused on hits and fan favorites, arrived in August of that year. In early 2017, Celtic Thunder presented Emmet Cahill's Ireland, a collection of Irish standards sung by Cahill. Months later, the group released Inspirational. ~Steve Leggett

The Show mc
The Show zippy

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Laura Crema - Blue Shadows on the Trail

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 44:31
Size: 103,3 MB
Art: Front

(2:55)  1. Sugar Moon
(2:47)  2. Break It to Me Gently
(3:18)  3. Black Is the Color of My True Love's Hair
(4:33)  4. Blue Shadows on the Trail
(2:49)  5. Sit Right Down and Write Myself a Letter
(3:28)  6. I'm so Lonesome I Could Cry
(2:39)  7. The Lonesome Road
(3:37)  8. Don't Fence Me In
(2:48)  9. Katerina
(3:03) 10. Tumbling Tumbleweeds
(4:28) 11. Motherless Children
(4:02) 12. I've Always Been Crazy
(3:57) 13. Ramblin' Man

Jazz vocalist Laura Crema is not only a great singer but also an evocative musician. Her new album Blue Shadows on the Trail showcases both her stunning voice and ingenuity. Crema has re-imagined some of the finest classics while making them uniquely hers at the same time, recreating them for a new generation of folk, jazz, and country lovers. This album is a feast with rich flavors that will satisfy your musical palette. Delightful and charming, "Sugar Moon" is fitting to be placed as the first track in the album. It gives listeners a taste of what to expect Crema’s heavenly voice, a fusion of genres, and a creative re-imagining of a classic. Crema offers a slow jazz, folk country rendition of a K.D. Lang song. This stripped-down version of the song will make listeners savor its beautiful lyrics all the more. The piano and guitar solos are lovely, complementing Crema’s blissful voice. It’s like a sweet lullaby you can slow dance to under the moonlit sky. Famously sung by Nina Simone, the folk and jazz version of "Black Is the Color of My True Love’s Hair" is intense and hauntingly beautiful. Crema’s enchanting voice creates a more passionate yet endearing version of the song. The violin and guitar accompaniment making the song enthralling and enigmatic at the same time. Crema’s rendition of this classic is like a slow unveiling of an elusive loved one. Her voice effortlessly shifts from mysterious to magical. Many singers have covered Blind Willie Johnson’s "Motherless Children" like Bob Dylan, Eric Clapton, and Rosanne Cash. Crema’s velvety voice is what differentiates her version from the rest. Her American folk and Western swing fusion make this song slightly upbeat with a touch of country music, adding more flavor to it. Crema accomplishes something incredible in this track. She balances the sense of urgency with clarity and vulnerability, allowing the message of this song to resonate louder than ever before. There is strength in her ethereal voice, making this rendition more provocative than it already is. Crema’s new album is a collection of blended genres that gives birth to revitalized originals. Her captivating voice and independent vision allows her to transcend the limitations of covers and produce re-imagined songs that have a life of their own. ~ The Journal of Roots Music, Sept 17, 2016 http://www.lauracrema.com/reviews.html

Blue Shadows on the Trail

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Misia - Do Primeiro Fado Ao Ultimo Tango Disc 1 And Disc 2

Album: Do Primeiro Fado Ao Ultimo Tango Disc 1

Styles: Vocal, Fado
Year: 2016
File: MP3@320K/s
Time: 75:43
Size: 176,0 MB
Art: Front

(2:53)  1. Fado Adivinha II
(4:13)  2. Dança De Magoas
(3:34)  3. O Vendaval
(5:01)  4. Lagrima
(2:38)  5. O Manto Da Rainha
(2:43)  6. Duas Luas
(3:08)  7. Liberdades Poeticas
(4:10)  8. Garras dos Sentidos
(3:08)  9. Ainda Que
(4:34) 10. Autopsicografia
(4:30) 11. Tive Um Coracao, Perdi-o
(4:57) 12. Paixoes Diagonais
(3:20) 13. Que Sera (feat. Adriana Calcanhotto)
(3:36) 14. Rasto de Infinito
(4:20) 15. Nao Me Chamem Pelo Nome
(2:31) 16. Veste De Noite Este Quarto
(4:23) 17. Fado Das Violetas
(5:24) 18. Maria La Portuguesa (feat. Martirio)
(2:19) 19. Fado do Ciume
(4:10) 20. Yo Soy Maria

Mísia's 25-year career is celebrated with the release of a new album. But this is not a disk! In addition to marking the return of one of Fado's best performers, "From the First Fado to the Last Tango" brings together for the first time in a single album the songs of Mísia's election, chosen from the immense roll of remarkable compositions of this artist. With the release of the album "Mísia" in 1991, begins what, according to the journalist and writer Manuel Halpern, will be called the New Fado, writing in his book "The Future of Saudade", about the rebirth of the fado: "... The temporal delimitation is always difficult. But if we were forced to set a date for the beginning of the New Fado, it would be March 1991, the time when Mísia released her first album. Everything that is before is a kind of prehistory. "Through a selection made by Mísia herself," From the First Fado to the Last Tango "takes us on an extraordinary journey through her already long but always brilliant career. "Fado", "Tanto Menos Tanto Mais", "Claws of the Senses", "Diagonal Passions", "Ritual", "Canto", "Mísia" - Mísia's 1st album and celebrating this year's 25th anniversary - "," Drama Box "," Streets, Lisbonarium & Tourists "and" Lady of the Night "without forgetting the recent" Delikatessen Café Concerto "and" For Amália ". Translate by Google https://www.fnac.pt/Misia-Do-Primeiro-Fado-ao-Ultimo-Tango-2CD-CD-Album/a1001530#?

Do Primeiro Fado Ao Ultimo Tango Disc 1

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Album: Do Primeiro Fado Ao Ultimo Tango Disc 2

Time: 71:14
Size: 165,7 MB

(4:05)  1. Unicornio
(4:27)  2. Triste Sina
(3:14)  3. Amalia sempre e agora (feat. Maria Bethania)
(2:56)  4. Ciumes De Um Coracao Operario
(3:10)  5. Fogo Preso
(4:09)  6. Valsa das Sombras
(4:01)  7. Fado Triste
(3:33)  8. Misterios Do Fado
(3:12)  9. As Time Goes By
(4:12) 10. Hurt
(3:07) 11. Esas lagrimas son pocas (feat. Dead Combo)
(3:18) 12. So nos Dois (feat. The Legendary Tiger Man)
(3:17) 13. La Chanson D'Helene (feat. Iggy Pop)
(2:50) 14. Vivendo Sem Mim
(3:09) 15. Cancao de Alcipe
(3:56) 16. Da Vida Quero os Sinais
(4:21) 17. Pressagios de Alfama
(4:02) 18. Ese Momento
(3:33) 19. Naranjo En Flor
(2:32) 20. Cha Cha Cha Em Lisboa (feat. Melech Mechaya)

Do Primeiro Fado Ao Ultimo Tango Disc 2

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Grant Stewart Quarter - Buen Rollo

Styles: Saxophone Jazz
Year: 1999
File: MP3@256K/s
Time: 54:17
Size: 100,1 MB
Art: Front

(8:55)  1. It's All Right With Me
(7:04)  2. Pannonica
(4:03)  3. Cyclops
(6:54)  4. Dizzy Moods
(6:25)  5. Manhattan
(5:45)  6. O.D.
(7:00)  7. Scotch Thing
(8:07)  8. Something To Live For

   Born in Toronto, Canada on June 4, 1971, Grant Stewart was exposed to the music of Charlie Parker, Wardell Gray and Coleman Hawkins by his father, a high-school English teacher and semiprofessional guitarist. Father and son often played together for hours on end. It was through these early experiences and his father's encouragement that Stewart first developed a strong ear for melody, style, and improvisation. He began with the alto saxophone at age 10, and when he was 14 his first teacher, noted Toronto bandleader Pete Schofield, invited him to play professionally in Schofield's Big Band. At 17 he switched to the tenor saxophone and was soon playing with such master saxophonists as Pat Labarbara and Bob Mover. Stewart considers Mover to be one of his greatest teachers and among his strongest influences along with Sonny Rollins, John Coltrane, Don Byas, and Lester Young. Since moving to New York City at the age of 19, Stewart has studied with such masters as Donald Byrd, Barry Harris, and Joe Lovano, and performed with Curtis Fuller, John Hendricks, Clark Terry, Etta Jones, Bill Charlap, Frank Gant, Dan Barrett, Bob Mover, Brad Mehldau, Russell Malone, Larry Goldings, Peter Bernstein, Jimmy Cobb, Harry Connick , Harold Mabern, Mickey Roker, Arthur Harper, Jimmy Lovelace, Cecil Payne, Dick Hyman, Herb Geller and was a member of the last Al Grey Sextet. https://musicians.allaboutjazz.com/grantstewart

Stewart can be found playing at such clubs in NY as, Birdland, Smoke, The Ketano, The Jazz Standard, Fat Cat and can be heard every Tuesday night at Smalls Jazz Club. Stewart has performed all over North America and Europe as well as Japan, Brazil, Taiwan and was one of the first jazz artists to be invited to play at the historical Hermitage Museum in St.Petersberg Russia. Grant was also a featured artist at the Guggenheim Museums' Jazz series with his trio-featuring Jimmy Cobb. Stewart has two releases as a leader out on Criss Cross, Downtown Sounds and More Urban Tones, as well as a third on the Fresh Sounds label entitled Buen Rollo. Downtown Sounds, heralded by critics in the U.S., Canada and Europe, was recorded in 1992 and includes Brad Mehldau, piano, Kenny Washington, drums, Peter Washington, bass and Joe Magnarelli, trumpet. Geoff Chapman, of the Toronto Star selected Downtown Sounds as one of the Top Five Jazz Albums of 1994. More Urban Tones features Peter Bernstein, guitar, Peter Washington, bass, and Billy Drummond, drums. You can also hear Grant on Ryan Kisors' recent Quintet release The Awakening on Criss Cross Jazz. One of his latest projects is a two-tenor group co-led with Eric Alexander. The C.D.is called Wailin' and is available on Criss Cross. Grant's latest quintet release Estate featuring Bill Charlap and Joe Cohn is available on Criss Cross as well.

Grant Stewart Quartet: Grant Stewart (tenor saxophone); Fabio Miano (piano); Chris Higgins (bass); Marc Miralta (drums).

Buen Rollo

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Screaming Headless Torsos - Live!!

Styles: Jazz Funk
Year: 2002
File: MP3@320K/s
Time: 66:27
Size: 153,7 MB
Art: Front

( 4:15)  1. Just For Now
( 5:04)  2. Smile In A Wave
( 5:16)  3. Jazz Is The Teacher
( 8:48)  4. Blue In Green
( 7:31)  5. Word To Herb
( 5:40)  6. Hope
( 6:45)  7. Vinnie
( 4:20)  8. Darryl Dawkins' Sound Of Love
(11:13)  9. Kermes Macabre
( 7:29) 10. Dig A Pony

Fans of the Screaming Headless Torsos' unique brand of avant-gardist funk-jazz-rock fusion had very little to chew. Apart from the group's 1995 debut CD, the only document was a high-priced rare Japanese import. Guitarist David "Fuze" Fiuczynski bought back the rights to the tapes, had them fantastically remastered, and reissued them on his own U.S.-based label, Fuzelicious Morsels, as Live. Culled from two shows at the Knitting Factory in September 1996, this CD features the same lineup as on the studio album from the previous year and most of its songs too. The renditions of "Smile in a Wave," "Vinnie," the chilling "Kermes Macabre," and the funked-up "Word to Herb" show how much liberty Fuze could take with his guitar solos mostly atonal and completely out there. "Word to Herb" especially transcends its original version, thanks to incredible amounts of energy from all musicians. But as good these tracks are, the fans will want this CD for the four songs that did not appear on the studio album. "Just for Now" opens the proceedings with a great discharge of jazz-funk, a typical Torsos track. "Darryl Dawkins' Sound of Love" casts singer Dean Bowman as a Barry White-like crooner to great effect. The Beatles' "Dig a Pony" gets a treatment similar (but not quite as exciting) as Miles Davis' "Blue in Green." Sound quality has been enhanced, putting the listener in the front row to (re)live the galvanizing experience that was a Torsos show. Begin with the studio CD (reissued at the same time under the title 1995), just so you start at the same point as everyone else. ~ François Couture  https://www.allmusic.com/album/live%21%21-mw0000214399

Personnel: Dean Bowman (vocals, rap vocals); David Fiuczynski (guitar, electric guitar, strings); Gene Lake, Jojo Mayer (drums); Daniel Sadownick (percussion).

Live!!

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