Luigi Trussardi - Introspection

Bitrate: MP3@320K/s
Time: 43:21
Size: 99.2 MB
Styles: Bop
Year: 2000
Art: Front

[4:15] 1. Introspection
[3:49] 2. Hallucinations
[5:38] 3. Opus The Funk
[2:32] 4. Crepuscule With Nelly
[3:25] 5. Wee See
[3:46] 6. Oblivion
[5:03] 7. Salute To The Band Box
[3:55] 8. So Sorry Please
[2:37] 9. Ruby My Dear
[5:06] 10. Shaw'nuff
[3:09] 11. My Ship

David Sauzay (ts), Gaël Horellou (as), Laurent Courthaliac (p), Luigi Trussardi (b, piccolo bass), François Ricard (d).

Bassist Luigi Trussardi is one of these bassists. Europeans who have accompanied a whole world, including the biggest, American or European, in the world of clubs, standards and swing that remains at the heart of jazz practice. It is this experience, covering a few decades, that he brings to this new CD, dedicated to the compositions of Monk, Bud Powell and other boppers. This is how it helps to convey the great tradition of bebop to its young partners and the public.

To the remark of François Lacharme in the booklet - "While everything, in music, seems today to take the place of event, it is necessary to venture the path of the bebop "- one could answer that it is nevertheless a way that many borrow, even nowadays. But precisely, it is not necessarily the audacity we seek - here we admire the authenticity of this bebop, starting with the repertoire, of irreproachable taste, and continuing with the sound of the rhythm section, very "vintage." A repertoire music, but that did not take a wrinkle.

The instrumentation varies throughout the CD. Tenor David Sauzay is honored on four compositions, joined by the hot Gaël Horellou alto sax for two tracks, including a furious "Shawnuff". The trio Courthaliac / Trussardi / Ricard stands out on "Wee See" by Monk, "Hallucinations" by Bud Powell (who will be recognized as the "Budo" of the famous "Birth of the Cool" sessions by Miles Davis), and " Salute to the Band Box "by Gigi Gryce. Finally Trussardi, following the example of Ron Carter, plays the bow a bass piccolo, somewhere between the cello and the bass, on "Crepuscule With Nellie" and the superb "My Ship" by Kurt Weill, that we do not hear often enough Despite the solid work of the group on the other pieces, it's these two, where the themes are played simply, without solo, that I prefer. (Translated from French.)

Introspection mc
Introspection zippy

---

Herb Geller - Herb Geller Plays

Bitrate: MP3@320K/s
Time: 44:45
Size: 102.4 MB
Styles: Bop, Saxophone jazz
Year: 1955/1997
Art: Front

[2:58] 1. Love Is Like A Turtle
[5:47] 2. Sweet Vinegar
[2:55] 3. Sleigh Ride
[2:52] 4. Silver Rain
[6:51] 5. Alone Together
[2:53] 6. Happy Go Lucky
[3:22] 7. Days I Never Knew
[3:29] 8. Domestic Harmony
[3:22] 9. Breaking Through The Sound Barrier
[2:44] 10. Kahagon
[3:21] 11. You Stepped Out Of A Dream
[4:05] 12. A Room With A View

Other than four titles from a year before, this LP contains altoist Herb Geller's first recordings as a leader. Cut during a period when Herb was based in Los Angeles and regularly working with his wife, the talented but short-lived pianist Lorraine Geller, the music also has either Curtis Counce or Leroy Vinnegar on bass and Lawrence Marable or Eldridge Freeman on drums. Herb Geller was already in his early prime and contributed six originals. The band also performs one of Lorraine's tunes, plus five standards, all in swinging and boppish style. This LP (which has not been reissued lately) is well worth searching for. ~Scott Yanow

Herb Geller Plays mc
Herb Geller Plays zippy

---

Gary Peacock Trio - Now This

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 57:54
Size: 133,0 MB
Art: Front

(6:41)  1. Gaia
(5:02)  2. Shadows
(5:44)  3. This
(4:34)  4. And Now
(6:16)  5. Esprit de Muse
(5:17)  6. Moor
(5:48)  7. Noh Blues
(4:44)  8. Christa
(4:56)  9. Vignette
(3:59) 10. Gloria's Step
(4:47) 11. Requiem

Some of bassist Gary Peacock's earliest musical associations speak to a career that has been nurtured by unusually well-rounded experiences. Subbing for Ron Carter in gigs with Miles Davis, playing with the Bill Evans Trio and pianist Paul Bley and a stay with saxophonist Albert Ayler provided Peacock with foundations that ran the gamut from main-stream balladry, to conceptually modern jazz to the most unrestricted free jazz. All of which led up to the three-decades long relationship with Keith Jarrett and drummer Jack DeJohnette for which he is best known and where his finely developed skills lend themselves to that highly innovative group. With a very different trio, Now This is often darkly lyrical with a quiet dignity. Drummer Joey Baron who often draws comparisons to Paul Motian has never sounded more like the late drummer with a masterfully subtle touch. Pianist Marc Copland has worked with Peacock in various settings for three decades and is a master of harmonics. His work with guitarist John Abercrombie, saxophonist Greg Osby and bassist Drew Gress have earned high praise while Copland has remained puzzlingly under-recognized as one of the finest pianists and composers on the scene.

"Gaia" and "Shadows" the first to pieces on Now This are brooding and unhurried but are followed by "This" where a bit more dissonance is propelled by Baron's refined but forceful playing. Copland pushes that avant-garde essence as he guides the trio through "And Now," "Esprit de muse" and "Moor" the latter two being faster-paced and more complex numbers. Copland's fascinating composition, "Noh Blues," only hints at blues while providing a perfect backdrop for solos and interesting group interchanges. Throughout the pieces Peacock explores the full range of the bass pushing and pulling the music with him through unexpected turns. There is not a wasted note to be found on Now This where the compositions some re-worked, others, new strongly suggest a portentous air. Peacock, Copland and Baron expertly develop the pieces in that light so that, despite the overriding thoughtfulness, it is never certain in which direction the journey is moving. Now This is an thought-provoking collection rendered by brilliant performers.

Personnel: Marc Copland: piano; Gary Peacock: double bass; Joey Baron: drums.

Now This

---

Nina Hagen - Like An Angel

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 77:14
Size: 179,3 MB
Art: Front

(3:37)  1. Die Rattenkonigin
(4:32)  2. Love Will Survive (Die Liebe Siegt Immer)
(3:18)  3. Like An Angel Passing Through My Room

(2:32)  4. Love Is All
(3:15)  5. Romeo & Juliaaah
(4:45)  6. Immer Lauter
(3:49)  7. Gimmi Your Love
(5:21)  8. Der Traum Ist Aus
(4:46)  9. Manner
(4:05) 10. You Get What You Deserve
(1:48) 11. Sally's Lied
(2:42) 12. Die Ballade Von Der Sexuellen Horigkeit
(3:35) 13. Alabama Song
(3:33) 14. Ich Hasse Santa Claus
(4:23) 15. La Veuve Moir
(3:33) 16. Schon Ist Die Welt
(3:50) 17. Kriminaltango
(3:57) 18. Kinky Melody
(4:42) 19. Seemann
(5:02) 20. The Aria

Born in East Germany, Nina Hagen had already gained a reputation as a flamboyant rock singer by the time she emigrated to the West in 1976, where she formed a band, signed to CBS Germany, and released the debut album Nina Hagen Band in 1978. It was followed in 1980 by Unbehagen. Hagen's first U.S. release, Nina Hagen Band EP (1980), was a four-song EP consisting of songs drawn from her two German releases. She moved to New York and made her first English-language LP, Nunsexmonkrock, in 1982. That and its follow-up, the Giorgio Moroder-produced Fearless (1983), charted briefly, and "New York New York" was a Top Ten dance club hit. But Hagen left CBS after Nina Hagen in Ekstacy (1985). In 1988, she celebrated her marriage with the EP Punk Wedding, released in Canada, and in 1989 she returned to the German market with Nina Hagen. In 2010, Hagen released Personal Jesus, which featured 13 faith-based tracks that dutifully blend rock, blues, soul, and gospel into a sound that’s distinctly hers. ~ William Ruhlmann https://www.allmusic.com/artist/nina-hagen-mn0000414016/biography

Like An Angel

---

Greg Osby - St. Louis Shoes

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 52:25
Size: 120,2 MB
Art: Front

(5:59)  1. East St. Louis Toodle-oo
(6:00)  2. Shaw Nuff
(6:50)  3. Light Blue
(5:33)  4. Whirlwind Soldier
(5:03)  5. Summertime
(5:55)  6. Milton on Ebony
(6:37)  7. The Single Petal of a Rose
(2:29)  8. Bernie's Tune
(7:56)  9. St. Louis Blues

It takes time to assess St. Louis Shoes. In fact, to wax intellectual about the process, it requires the exegetical approach usually reserved for vast, inter-textual novels like Dr. Faustus or Gravity's Rainbow. Each encounter reveals ever new intrigues, insights, and moments of grace. And just like with Faust, you?d better go back to the source material.
Each of the nine tracks on St. Louis Shoes is based on another composer's work. Through these, Greg Osby gifts the listener with a treatise on sax styles, displaying a range of tone moving from Hawkins to Young, Parker to Hodges, and finally, to his own unmistakable diamond-hard, angular voice. However, Osby has not produced a tribute album. Everything resonates with his own style, and nothing can be set aside as simply another take. This is jazz inter-textuality and it sounds great. St. Louis Shoes opens with a direct reference to Osby?s birthplace, St. Louis Toodle-oo. This bold reconfiguration of Ellington's seminal work begins slowly, the opening retaining much of the original material. However, it quickly builds on the latent threat implicit in Ellington's rhythms, thickening to enhance the sinister quality, so that in the end it feels as if you have traveled into the depths of St. Louis, and into a musical vision completely Osby's own.

Initially, Osby's performance of the next track, Shaw Nuff, sounds like what Parker might have laid down had contemporary recording quality been what it is today, and the LP already in existence. However, this is not straight emulation or resurrection. With Payton as antagonist, Osby bends and twists the original, extending it into a six minute wild ride. Conversely, Light Blue comes in at just about half the size of Monk's original. As always, Monk?s idiosyncratic yet sophisticated structure provides fertile territory for improvisers willing to delve into the material. Osby next turns to Whirlwind Soldier, written by contemporary vocalist, composer, and former co-member of Osby's M-Base project, Cassandra Wilson. By including a contemporary piece, Osby indicates that this project is not about reclaiming the past through homage. It's about improvisation and innovation, something that can be accomplished when working off of the latest as well as the oldest material. Osby ends his album by returning to one of jazz's oldest works, St. Louis Blues. Originally written by W.C. Handy and first recorded in 1920, St. Louis Blues was popularized by Louis Armstrong in 1930. Osby's takes this wealth of history into account, proceeding at a slow tempo to accentuate the piece?s blues mood. Referenced are Armstrong's succinct note placements, Gillespie?s faster, more dynamic lines, as well as the Latin-influenced rhythmic deviations of Gillespie's big band arrangement. Green keeps the piece moving with a frenetic but soft rhythm, while O'Neal's piano work stands out here as particularly adept.  It takes time to assess Osby's St. Louis Shoes. Time to listen, to think, to sift through old albums and memories, then to listen all over again. There is a wealth of material here. Listen and see what emerges for you. ~ Franz A. Matzner https://www.allaboutjazz.com/st-louis-shoes-greg-osby-blue-note-records-review-by-franz-a-matzner.php width=1536
 

Personnel: Greg Osby - alto saxophone; Nicholas Payton - trumpet, fluglehorn

St. Louis Shoes

---

Hank Marvin - Without a Word

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 49:27
Size: 114,0 MB
Art: Front

(3:42)  1. Don't Get Around Much Anymore
(3:44)  2. Michelle
(2:42)  3. Alfie
(3:33)  4. Theme From 'Poirot'
(3:19)  5. Are You Lonesome Tonight
(3:09)  6. Russian Doll
(4:04)  7. Peter Gunn/Baby Elephant Walk
(3:00)  8. Moon River
(2:52)  9. Doctor Who Theme
(2:56) 10. What A Wonderful World
(3:36) 11. Cry Me A River
(3:44) 12. The Fool On The Hill
(3:52) 13. America
(5:07) 14. Will You Still Love Me Tomorrow

The master of the twanging electric guitar returns. We were all set to meet the man and talk guitars, this record and everything else, but his trip over from Australia for promo was cancelled, as we understand it for family reasons. No matter, we can bide our time for a meet and in the meantime listen to this fresh album, produced by Hank and with some input from his son Ben. Recording was undertaken at Nivram Studios in Perth. The titles confirm no real theme or overall mood to the record as they are frankly and almost bizarrely all over the place hence it is best to assume that this is a collection of numbers that Hank felt like recording. After all and all this time Marvin has nothing to prove. His fans will always be eager to hear his skills put yet again to good use. We know of his penchant for gypsy jazz but on this current set it’s exploring the melodies that seems to prevail…. Don’t Get Around Much Any More is of course the Ellington standard, a tune favoured by many including Paul McCartney. Cool piano and brush drumming staggers start the tune and that liquid single-note guitar starts to chime, the tiniest hint of delay. Makes me think for some reason of Sunday lunchtimes and Two-Way Family Favourites on the radio. A very slight fuzztone can be heard. The piano solo has a George Shearing shine to it, unhurried. Beautiful stuff…

A corny accordion brings in Michelle, a straightforward reading of the Lennon & McCartney standard from Rubber Soul. The guitar tone is vintage Shadows to these ears. The delicacy of the melody is kept intact and a cute acoustic interlude works well. The Bacharach composition Alfie was brilliantly sung by the late Cilla Black of course and it is hard to hear the tune without thinking of the great Michael Caine deadpanning his way through the original film. The strings here are very close to the original Abbey Road arrangement. A genius composer whose intriguing chordal runs stay fresh and touching. Theme From Poirot benefits from a guitar treatment, it’s lot less Charlie Chaplin and this fairly lively approach gets the composition moving along with deft fingerwork and excellent drumming Ben Vanderval. Plus ominous but uncluttered descending bass runs by Roy Martinez. Things get jazzy @ 2:13 as Hank goes into blues mode, vamping Hammond et al. A winner, this one and fades away too early for me! Are You Lonesome Tonight has rolling acoustic guitar and Marvin twanging softy away on the Elvis favourite. Shame he didn’t do Let’s Play House.

Russian Doll is a father & son original taken at a brisk pace and somehow evoking Donovan in its changes. Would make a good film theme, opening credits for a thriller maybe. A nod to Henry Mancini now and the spiky Peter Gunn/Baby Elephant Walk, rocking away quite rhythmically, the electric guitar taking the sleazy lead lines and handling the stops with a funk swagger but suddenly we are into a legato guitar take on Baby, stepping back to Peter Gunn. It’s clever, but I would never have paired these two tunes. BTW do check out Gary Hoey’s version of Peter Gunn! Moon River is also Mancini but plus Johnny Mercer and here Marvin uses his lagoonside crooning style over gentle acoustic guitar backing. I had to play this once at a wedding and used a Schaller volume pedal and a slide… The Doctor Who Theme cruises in on oscillating synths before the drums punch the backbone in and the guitar wobbles on its way. To be honest it sounds a bit odd and a wilder approach would have added a lot. This was once a spooky and exciting tv series and not the overcomplicated pc garbage successive naff producers have dragged it to. What A Wonderful World along with We Have All The Time In The World have truly timeless melodies and would have made a fine medley. Here Marvin takes the former for a walk with some subtle vibrato bar work here and there. The backing is almost reggae.  Cry Me A River is the song you associate with Julie London as opposed to Mr Timberlake. As a composition it aches with menace and the electric piano is terrific. The tune sounds surprising on guitar, a wah pedal would have made it even better. The lighter bridge is well played then returns to the darker mood. Definitely my choice of number on this set. It’s close to Larry Carlton after a couple of minutes.

The Fool On The Hill is another haunting song. The tempo is quite jaunty, here. Resulting in a pretty and uplifting take on the number which is a highlight on this album, for sure. If only he would try my favourite Beatles composition, Rai ! America is the Bernstein torcher, sounding mellow at the start of this effort. Then things get much better and that early Shadows touch jumps out at you. Will You Love Me Tomorrow is a song I had to work out not long ago to back a female vocalist. The chords are lovely and the cadence quite warming. Goffin and King wrote few clinkers. This version has a brisk backing letting the single-note melody float along. The instruments used by Marvin on these cuts include Hank’s Signature Fender Stratocaster, a Dan Electro Baritone and a Hahl Gypsy acoustic six-string. Hank can make them all talk..and they do. Take My Word.~ Pete Sargeant http://justlistentothis.co.uk/reviews/hank-marvin-without-word/

Personnel: Hank Marvin (acoustic guitar); Kevin Reeves (guitar); Roy Martinez (bass guitar); Ben Vanderwal (drums, percussion); Paul Rossiter (programming).

Without a Word

---

Marilyn Crispell - Santuerio

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 68:49
Size: 161,9 MB
Art: Front

( 6:10)  1. Entrances of Light
(10:32)  2. Air - Fire
( 2:57)  3. Water
( 5:01)  4. Burning Air - Wood
(13:24)  5. Santuerio
( 9:32)  6. Repercussions of Light
(13:44)  7. Red Shift
( 7:25)  8. Repercussions of Air I & II

For this recording, pianist Marilyn Crispell both debuted a new quartet and embarked on a somewhat different path from her previous outings and, certainly, from her long tenure with Anthony Braxton. Pulling in violinist Mark Feldman and cellist Hank Roberts (along with longtime compadre Gerry Hemingway), her music, here essentially an eight-part suite, took on a more elegiac, overtly spiritual tone. The pieces are draped around the loosest of thematic materials, the musicians instead using the wisps of ideas to gently launch into introspective investigations, occasionally coalescing into brief, more frenzied bouts, but generally remaining in a pensive state. The title track begins with a long, intricate percussion solo from Hemingway before falling into a choppy, awkward series of overlapping written lines where Crispell's angular attack (by this point far beyond the early Cecil Taylor comparisons) is set against Feldman's pining cries. Little by little, the piece works up quite a head of steam, the disjunctive rhythms beginning to mesh quite intriguingly toward the end. "Repercussions of Light," a duo between a superbly romantic Feldman and Hemingway's soft backing, is arguably the highlight of the disc, a fine composition that straddles the boundary between the ethereal and the earthy. Crispell takes off on the next track, "Red Shift," leading the quartet through the disc's most intense playing, creating a swirling cauldron of activity. Santuerio closes in the same ghostly manner as it had begun, with quivering violin over hushed, delicate piano. Overall, it's an impressive achievement, showing a new side of this fascinating musician. ~ Brian Olewnick https://www.allmusic.com/album/santuerio-mw0000066453 

Personnel:  Piano, Producer, Composed By – Marilyn Crispel;  Cello – Hank Roberts;  Drums – Gerry Hemingwayl;  Violin – Mark Feldman

Santuerio

---

Dara Tucker - Dara Tucker Live

Size: 100,2 MB
Time: 39:38
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Intro (Live) (0:24)
02. On The Sunny Side Of The Street (Feat. Mason Embry) (Live) (2:38)
03. The Shadow Of Your Smile (Live) (2:39)
04. The Days Of Wine And Roses (Feat. Mason Embry) (Live) (2:17)
05. The Way I Am (Feat. Greg Bryant) (Live) (2:58)
06. I Can't Give You Anything But Love (Feat. Josh Hunt) (Live) (2:13)
07. Annie's Song (Feat. James Dasilva) (Live) (2:54)
08. I See Your Face Before Me (Feat. Greg Bryant) (Live) (4:37)
09. Until The Real Thing Comes Along (Live) (4:26)
10. Almost Like Being In Love (Feat. Mason Embry) (Live) (2:35)
11. Just In Time (Feat. James Dasilva & Mason Embry) (Live) (3:30)
12. But Beautiful (Live) (2:49)
13. Walk With Me (Live) (5:32)

Dara Tucker is an American jazz singer and composer. Tucker has released four studio albums; "All Right Now" (2009), "Soul Said Yes" (2011) "The Sun Season" (2014) and "Oklahoma Rain" (2017), as well as a limited-release, live performance album, "Dara Tucker Live" in 2013. Dara was named, "Jazz Vocalist of the Year" at the 2016 and 2017 Nashville Industry Music Awards. In 2017, the second single from "Oklahoma Rain, "Radio," was named, "Song of the Year" at Nashville Industry Music Awards, and "Oklahoma Rain" won "Jazz Album of the Year." Tucker has performed internationally with her jazz ensemble since 2009. Dara was featured on the Tavis Smiley Show in 2015, and opened for Gregory Porter in 2016. She won the silver medal in the "American Traditions Vocal Competition" in 2017.[3] She has shared the stage with jazz musicians such as organist Dr. Lonnie Smith,[4] 7-string guitarist Charlie Hunter, and pianist Johnny O'Neal at The Blue Note in New York City, The San Jose Jazz Festival, Smoke Jazz and Supper Club in NYC, Sculler's in Boston, MA, The Oklahoma Jazz Hall of Fame, and Snug Harbor in New Orleans, LA. In November 2016, she shared the stage with Vince Gill and the Time Jumpers. She has recorded with guitarist Peter Bernstein, guitarist Charlie Hunter, pianist Helen Sung, trombonist Alan Ferber, saxophonist John Ellis and drummer Donald Edwards.

Dara Tucker Live

---

Chris Connor - The Complete Atlantic Singles 1956-1960 (Remastered)

Size: 141,4 MB
Time: 60:23
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Go 'Way From My Window (2:50)
02. Past The Age Of Innocence (2:35)
03. My Heart Is So Full Of You (2:17)
04. I Miss You So (2:21)
05. Time Out For Tears (2:39)
06. Trust In Me (2:14)
07. Mixed Emotions (2:48)
08. I Love You, Yes I Do (2:36)
09. Under Paris Skies (2:38)
10. Moon Ride (2:45)
11. Circus (2:00)
12. Flying Home (2:34)
13. Hallelujah, I Love Him So (2:24)
14. I Won't Cry Anymore (2:23)
15. Señor Blues (2:54)
16. Misty (2:50)
17. Invitation (2:38)
18. I Sold My Heart To The Junkman (2:05)
19. Heard A Bluebird (2:17)
20. Fortune Cookies (2:13)
21. That's My Desire (1:59)
22. I Only Want Some (2:47)
23. 'S Wonderful (2:31)
24. Love Walked In (2:55)

Chris Connor (1927-2009) developed her jazz style while singing with Stan Kenton in 1953. The way she put it, Singing with Kenton was the most exciting thing that happened to me. And, believe me, it trained my ear. After leaving Kenton, she began building her reputation as a single working intimate, jazz-clubs on the Eastern circuit. But she had never thought herself a jazz singer and made this clear when she first began singing for Bethlehem later that year: I don t know why I began singing jazz, instead of commercial things. But I always sang off the melody when I was a kid, so I guess that s it. I don t really want to stick to only one kind of singing. The only reason I m in this business is because I like to sing. I m not happy doing anything else.
Her fleeting doubts gradually disappeared as she became more secure in her own rhythmic conception, and after signing for Atlantic in 1956, she became one of the label s best sellers, selling 500,000 LPs during her five-year tenure, and thousands of jazz and pop singles; all of the latter are included here. Her near-vibratoless singing style and distinctive charm, as warm on ballads as it is coolly relaxed on uptempos, and her innate jazz phrasing emerging at unguarded moments triumph over more commercial approach of some of the tunes.

The Complete Atlantic Singles 1956-1960

---

Vic Juris - Eye Contact

Size: 157,3 MB
Time: 67:40
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. United (4:05)
02. Ruby (7:46)
03. I Fall In Love Too Easily (7:02)
04. We See (7:21)
05. Sim (5:01)
06. Pinocchio (4:16)
07. Sweet And Lovely (6:49)
08. Domo's Delight (3:44)
09. Time Remembered (7:36)
10. Eye Contact (7:29)
11. To Love And Be Loved (6:27)

Vic Juris has added another guitar trio masterpiece here on his ever-growing body of recorded works. He is joined by bassist Jay Anderson and drummer Adam Nussbaum.

Since his SteepleChase debut album 'Night Tripper' of 1994, guitarist Vic Juris has been presenting unique musical universe of unassuming virtuosity and versatility, of which John Kelman of AllAboutJazz once pertinently described as "fresh, in-the-moment and connected to the broadest possible tradition."

"Vic Plays Victor Young is a sensitive melodically exploratory album of standards and rarely covered airs, as should be expected from a seasoned ensemble with a compatible repertoire." ~Howard Mandel

Personnel: Vic Juris (guitar), Jay Anderson (bass), Adam Nussbaum (drums).

Eye Contact

---

Sandra Kaye - Here's To Life

Size: 99,5 MB
Time: 33:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Where Or When (2:27)
02. Fly Me To The Moon (2:57)
03. Never Let Me Go (3:54)
04. Dream (2:15)
05. Moon River (3:31)
06. Autumn Leaves (3:00)
07. As Long As He Needs Me (3:34)
08. Smile (4:33)
09. I Wish You Love (3:04)
10. Heres To Life (4:29)

Once or twice in every decade there comes a singer, so distinctive yet influenced by the rich vocal heritage of decades past. Just as Billie Holiday, Sarah Vaughan, Dinah Washington and Ester Phillips so touched our lives through their incomparable gift of song, so here and now comes another: Sandra Kaye.
Upon hearing Sandra Kaye "fashion" the songs that she sings (for indeed, that is what she does), one cannot help but wonder how it all began. Who is this young lady with a voice and soul for music and lyric that is beyond her years?
Just as all artistic expression is a gift from God, and often appears even before the artist herself become aware of it, Sandra's singing ability was evident to her family and friends long before she herself believed she was a singer. Always gracious, and at times so amazed at what, for her, was so easy, Sandra did not begin her singing career with the idea of making it her life's pursuit.
Sandra Kaye was born in Dallas, Texas the only daughter of a minister. She grew up singing gospel music and was often featured in church socials as a young girl with various choirs and girl groups. however, Sandra started her professional career by winning an amateur contest at the West End Cabaret Dallas in 1986, since then she has established herself as the consummate artist. She attributes her success to many hours of practice, hard work, countless gigs and frequent visits to open mic nights all over America.
Sandra Kaye's experience as a jazz vocalist has given her the ambidexterity to sing with orchestras, and ensembles of all sizes. Her first experience of big band was with the Shelley Carrol Big Band, since then Sandra has been featured with the Curtis Bradshaw's First Reunion Orchestra, The Dallas Jazz Orchestra, The Galen Jeter Orchestra and the Vecho Vecencio Group.

Here's To Life

---

David Linx - 7000 Miles

Size: 107,1 MB
Time: 45:47
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Poses (5:23)
02. From One Family To Another (3:22)
03. 7000 Miles (6:05)
04. America (5:32)
05. A Fool To Never Know (4:55)
06. Sitting On The Dock Of The Bay (4:45)
07. Night And Day (3:15)
08. Distortions (2:32)
09. The Promise Of You (4:53)
10. Out On A Limb (5:02)

Personnel:
David Linx, chant
André Ceccarelli, drums
Pierre-Alain Goualch, piano
Diego Imbert, double bass

David Linx (1965) is a Belgian singer of jazz and chansons, composer and lyricist. He studied percussion and worked as a drummer with the American jazz singer Mark Murphy, which motivated him to take up singing himself.
In 1996, together with a group of musicians, including Pierre Van Dormael and Slide Hampton, he made a recording with the American writer and activist James Baldwin, who recites poetry on this album.

With pianist Diederik Wissels David Linx recorded various duo albums over the years. Additionally, he recorded with among others Toots Thielemans, the quartet of guitarist Tam De Villiers, the quartet of pianist Ivan Paduart and the Brussels Jazz Orchestra.

David is also active as a singer of the French chanson. He recorded an album with chansons and collaborated with the singer Maurane. Addtionally, he composes music for film and dance theatre. In 2005, he was awarded the Prix Bobby Jaspar by the Académie du Jazz in Paris.

David Linx has been a jazz voice teacher at the Royal Conservatory in Brussels since 1993 and is a regular guest teacher at the Conservatorium van Amsterdam.

7000 Miles

---

Betty Lee - Live At Cafe Liberal

Size: 163,5 MB
Time: 70:08
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Sunrise (3:45)
02. Detstvi (3:14)
03. Blue Skies (4:03)
04. Volny (3:52)
05. Swing Me (3:59)
06. Cheek To Cheek (4:45)
07. Past (3:25)
08. Lemon Tree (4:36)
09. Pristi (3:42)
10. It Must Be Something Psychological (2:34)
11. Sambo Carlo (4:06)
12. Vanek (5:52)
13. Whatever Lola Wants (4:22)
14. Sen (3:51)
15. Island Blues (5:08)
16. Fronta Na Rozdil (3:23)
17. Hmm Hmm (5:22)

Betty Lee (Alžbeta Pažoutová) has been interested in music since her childhood. After studies at Prague Conservatory (acting, singing and dancing) she visited New York. During a few months of listening to New York jazz and meeting great musicians, Betty Lee also recorded her debut CD "I Wish You Love".

Currently Betty lives in Prague. She sang with Cosmic People band and Betty Lee Quartet. Now she has author's jazz/pop band - Betty Lee Song Project / BLSP. And Electronic, modern project Atomic Gigolo, also original songs.

Live At Cafe Liberal

---

Carolin Fortenbacher & Lutz Krajenski Trio - Fortenbacher Singt Streisand

Size: 178,7 MB
Time: 76:41
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Starting Here, Starting Now (Live) ( 3:01)
02. It Had To Be You (Live) ( 5:29)
03. Somewhere (Live) ( 5:38)
04. Evergreen (Live) ( 3:45)
05. The Way We Were (Live) ( 3:42)
06. What Kind Of Fool (Live) ( 5:52)
07. Don't Rain On My Parade (Live) ( 3:13)
08. Woman In Love (Live) ( 4:27)
09. Happy Days Are Here Again (Live) ( 3:43)
10. Pavane - Avinu Malkeinu - Papa, Can You Hear Me (Live) (13:45)
11. Not While I'm Around (Live) ( 3:47)
12. Second Hand Rose (Live) ( 5:51)
13. People (Live) ( 3:46)
14. Send In The Clowns (Live) ( 5:18)
15. Guilty (Live) ( 5:26)

Carolin Fortenbacher (born 26 June 1963 in Hamburg) is a German Musical actress and singer. She has had a leading role for five years in the musical Mamma Mia! in Hamburg.

Fortenbacher's different musical styles include soul, jazz, pop and rock, and also opera. Audiences know her both for her musical roles and for classical parts. In the Hamburg performance of The Magic Flute she played the Queen of the Night. Musical commitments followed such as Rosalina in West Side Story, Lucy in the musical Charlie Brown, Audrey in the Little Shop of Horrors or Anne in La Cage aux Folles. She took part in the Rock Opera Jimmy Dean in the Theater Casa Nova in Essen. She took on the roles of Mabel and Kate in the musical The Pirates of Penzance.

In September 1994 she played Aldonza in Der Mann von La Mancha, and she received the Image Award Germany.

She won the Publikumspreis des Theater des Westens, Berlin. There she had a commitment in Zustände wie im alten Rom.

In Oberhausen she played the role of the spider in the musical Tabaluga & Lilli. From November 2002 until September 2007 Fortenbacher played the leading role of Donna in the musical Mamma Mia! in the Operettenhaus Hamburg.

For this she was selected by the readers of the Bildzeitung as second place in the Top Women of Hamburg 2005, behind Hannelore Schmidt.

Fortenbacher Singt Streisand

---

Various - The Miles Davis Sidemen

Bitrate: MP3@320K/s
Time: 91:22
Size: 209.2 MB
Styles:
Year: 2013
Art: Front

[ 5:24] 1. Herbie Hancock - Cantaloupe Island
[ 7:48] 2. Sonny Rollins - Doxy
[ 5:46] 3. Herbie Hancock - Aung San Suu Kyi
[ 4:16] 4. John Coltrane - In A Sentimental Mood
[ 4:38] 5. Bill Evans - Everything Happens To Me
[ 6:41] 6. Paul Chambers - Dear Old Stockholm
[ 6:55] 7. Keith Jarrett - Bop-Be
[ 6:35] 8. John Scofield - A Go Go
[14:15] 9. Chick Corea - Spain
[ 6:48] 10. Jack Dejohnette - Indigo Dreamscapes
[ 4:59] 11. Tony Williams - Vashkar
[ 5:10] 12. The Cannonball Adderley Quintet - Mercy, Mercy, Mercy
[ 3:39] 13. Stan Getz - Anything Goes
[ 4:07] 14. Kai Winding - Speak Low
[ 4:13] 15. Gil Evans - Moon And Sand

Miles Davis is widely regarded as one of the most important musicians of the 20th century, being at the cutting edge of bebop, hardbop and fusion, just to name a few of the jazz movements he helped shape. Along the way, he influenced generations of musicians, including many sidemen who would enjoy influential and successful careers of their own.

The Miles Davis Sidemen mc
The Miles Davis Sidemen zippy

---

George Cotsirilos Quartet - Mostly In Blue

Bitrate: MP3@320K/s
Time: 48:46
Size: 111.6 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[6:54] 1. Mostly In Blue
[5:52] 2. Wes Side Blues
[7:13] 3. I Wish I Knew
[6:41] 4. Ms. Luna
[5:18] 5. Blue Dusk
[4:20] 6. Crazeology
[6:44] 7. Lights Out
[5:41] 8. Down, Not Out

George Cotsirilos - Guitar; Keith Saunders - Piano; Robb Fisher - Bass; Ron Marabuto - Drums.

A fixture of San Francisco's jazz scene for 40 years, guitarist George Cotsirilos presents a new album of original compositions, along with a Warren/Gordon gem, "I Wish I Knew." Taking advantage of his decades long performing relationship with pianist Keith Saunders, bassist Robb Fisher and drummer Ron Marabuto, Cotsirilos creates a warmly swinging, instantly classic recording.

Mostly In Blue mc
Mostly In Blue zippy

---

Luciana Souza - Duos II & Duos III

Album: Duos II
Bitrate: MP3@320K/s
Time: 47:17
Size: 108.2 MB
Styles: Latin jazz, Brazilian rhythms
Year: 2005
Art: Front

[3:00] 1. Sai Dessa
[4:05] 2. Nos Horizontes Do Mundo
[4:44] 3. A Flor E O Espinho Juizo Final
[2:50] 4. Muita Bobeira
[3:30] 5. Modinha
[4:28] 6. No Carnaval Vento
[3:49] 7. Sambadalu (Para Luciana Souza)
[5:48] 8. Aparecida
[5:44] 9. Trocando Em Miudos
[2:56] 10. Chorinho Pra Ele
[2:46] 11. Atr S Da Porta
[3:33] 12. Voce

Over the course of six albums filled with her beautiful voice and thoughtful interpretations, singer Luciana Souza has landed two Grammy nominations and grabbed the attention of knowledgeable jazz and Brazilian music fans. Here she follows up her breakthrough album Duos with a second installment, this time again in intimate duo settings with different guitarists. Souza dwells in her voice's mid-range, seldom going particularly high or low, yet her inflections are as rich as a well-aged cabernet wine. While these nuances take a little time to pick up, Souza's technical facility is easily recognizable and impressive – her lightning fast scat on the new choro "Sambadalu (Para Luciana Souza)" is dazzling; her timing on the ballad "Modinha" is impeccable. Generally regarded a jazz singer because of her chops, Souza is really "beyond category" (to use an old Duke Ellington quote) for bringing Brazilian folk idioms into the jazz genre, and she doesn't do it any better than on Duos II. –-Tad Hendrickson

Duos II mc
Duos II zippy

---

Album: Duos III
Bitrate: MP3@320K/s
Time: 40:56
Size: 93.7 MB
Styles: Latin jazz, Brazilian rhythms
Year: 2012
Art: Front

[1:29] 1. Tim Tim Por Tim Tim
[2:04] 2. Doralice
[2:39] 3. Chora Coracao
[2:53] 4. Pedra Da Lua
[3:54] 5. Dona Lu
[3:37] 6. Mágoas De Coboclo
[2:39] 7. Eu Vim Da Bahia
[3:59] 8. As Rosas Não Falam
[3:42] 9. Lamento Sertanejo & Maçã Do Rosto
[2:49] 10. Inutil Paisagem
[6:03] 11. Dindi
[5:02] 12. Beijo Partido

Duos III celebrates the ten-year anniversary of the release of Luciana Souza s Grammy- nominated and much celebrated CD, Brazilian Duos. Her Duos II record also went on to receive a Grammy nomination for Best Jazz Vocal Record. The last volume of this trilogy brings back her long time collaborators - guitar phenomenon Romero Lubambo, and master guitarist Marco Pereira - and introduces Toninho Horta, one of Brazil s most unique guitarists and composers. The repertoire is again as varied and beautiful as the Brazilian landscape including works by Antonio Carlos Jobim, Cartola, Gilberto Gil and Toninho Horta.

Duos III mc
Duos III zippy

---

Sandy Nelson - The Very Best Of Sandy Nelson

Bitrate: MP3@320K/s

Time: 56:40

Size: 129.8 MB

Styles: Instrumental rock, Rock N Roll

Year: 2003

Art: Front

[2:36] 1. Teen Beat' 65

[2:13] 2. Be Bop A Lula

[2:18] 3. I'm Walkin'

[2:18] 4. Don't Be Cruel

[2:49] 5. In The Mood

[2:06] 6. Peggy Sue

[2:59] 7. In Beat

[2:25] 8. Bony Moronie

[2:14] 9. Drum Party

[3:11] 10. Do You Wanna Dance

[2:02] 11. Back Off Boogaloo

[2:03] 12. Drum Stomp

[2:11] 13. Great Balls Of Fire

[2:39] 14. Rock Around The Clock

[1:37] 15. Shake Rattle And Roll

[1:53] 16. Blue Suede Shoes

[2:07] 17. Drums Are My Beat

[2:40] 18. Pinball Wizard

[2:15] 19. Summertime Blues

[2:17] 20. I Hear You Knockin'

[2:18] 21. Drumming Up A Storm

[3:08] 22. The Beat Goes On

[1:56] 23. Yakety Yak

[2:15] 24. Let There Be Drums

Sandy Nelson was the biggest -- and one of the few -- star drummers of the late '50s and early '60s era in which instrumental rock was at its peak. He landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums" (1961), which surrounded his Gene Krupa-inspired solos with cool, mean guitar licks that were forerunners of the surf sound. Nelson had only one other Top 40 hit, "Drums Are My Beat" (1962). He ground out a quick series of instrumental albums in the early '60s -- eight within 18 months, as a matter of fact -- with several other top Hollywood rock and pop session musicians. Nelson was not that great a drummer, although he was good. His principal importance is that he found a place for drum rock solos in hit instrumental singles, and the more reckless elements of his style no doubt influenced other musicians, such as surf drummers and, later, Keith Moon.

Nelson started to play rock & roll as a teenager in Los Angeles in the 1950s, forming a group that included Jan Berry, Dean Torrence, and Bruce Johnston, all of whom would be important to the surf and hot rod scenes a few years down the line. By the late '50s he was playing sessions, including drums on the Teddy Bears' chart-topper "To Know Him Is to Love Him." After his "Teen Beat" became a hit for Original Sound in 1959, he signed with Imperial as a solo artist, and continued to work as a session musician. For instance, he's heard on Gene Vincent records of the time, as well as the Hollywood Argyles' big hit "Alley Oop," on which he also did some screams. Nelson's numerous solo albums, despite the assistance of top fellow sessioneers like Steve Douglas (sax), Ernie Freeman (piano), and Rene Hall (guitar), had a lot of basic and unimaginative instrumental rock, whether original material or covers of well-known hits of the day. As with Duane Eddy's recordings, however, these simple albums might have helped inspire aspiring musicians as things to play along and learn with, if nothing else.

Near the end of 1963, Nelson was involved in a serious motorcycle accident that necessitated amputation of his right foot and part of his leg. Nonetheless, he managed to resume his drumming career and continued to churn out albums, as well as some singles, of which "Casbah" (1965) is the highlight, with its wild splashing drums and frenetic Middle Eastern/surf guitar. ~bio by Richie Unterberger

The Very Best Of Sandy Nelson 

---

Wild Bill Davison, Papa Bue's Viking Jazzband - Wild Bill Davison With Papa Bue

Bitrate: MP3@320K/s
Time: 58:35
Size: 134.1 MB
Styles: New Orleans jazz
Year: 1977/1999
Art: Front

[3:33] 1. I'm Confessin'
[5:02] 2. As Long As I Live
[3:52] 3. A Cottage For Sale
[3:38] 4. I Never Knew
[3:58] 5. Farfars Blues
[2:53] 6. Way Down Yonder In New Oreans
[3:00] 7. Blues My Naughtie Sweetie Gave To Me
[2:37] 8. Blue And Sentimental
[3:51] 9. Our Love Is Here To Stay
[5:35] 10. Tishomingo Blues
[5:51] 11. You're Lucky To Me
[3:36] 12. I Can''t Get Started
[3:27] 13. Someday You'll Be Sorry
[3:16] 14. Avalon
[4:20] 15. Lady Be Good

This release draws its material from five sessions that cornetist Wild Bill Davison recorded in Copenhagen with trombonist Papa Bue Jensen's Viking Jazz Band, not duplicating any music released elsewhere. Davison, who sings "A Cottage for Sale," clearly enjoyed playing with Jensen and his band (which also featured clarinetist Jorgen Svarre and occasionally tenor saxophonist Bent Jaedig) and he sounds quite inspired. Highpoints include "I'm Confessin," "I Never Knew," "Blues My Naughty Sweetie Gives to Me" and "You're Lucky to Me." ~Scott Yanow

Wild Bill Davison With Papa Bue mc
Wild Bill Davison With Papa Bue zippy

---

Nils Landgren - Chapter Two/2

Styles: Vocal, Trombone and Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 40:24
Size: 92,9 MB
Art: Front

(4:22)  1. Get Here
(4:47)  2. Song For Nils
(4:32)  3. Killing Me Softly
(3:32)  4. The Red Moped
(2:38)  5. Mood Shadow
(1:43)  6. Like Someone In Love
(3:49)  7. Everything Happens To Me
(2:08)  8. Waltz For Johanna
(5:10)  9. Everything Must Change
(2:29) 10. Morning Song
(5:07) 11. Birthday Dance

On the 9th of December 1980 Nils Landgren and Johan Norberg embarked a flight to Hamburg for a one week tv- session with Swedish singer Lill Lindfors. This was the first time they played together and during the 1980’s they would meet again on several occasions as being the most sought after studio musicians in Sweden. In 1988 they decided to form a duo ”Chapter Two” and their first tour was an immediate success followed by tv- shows and more than 300 concerts throughout Sweden. In 1994 the album Chapter Two/2 was released which has, up to date, sold more than 20.000 copies in Sweden. As being best friends they take care of this, their oldest ongoing project, and make a couple of concerts every year, filling the big venues in Sweden with huge crowds of their faithful ”Chapter Two-Fans”. http://www.nilslandgren.com/chapter-two-2/

Personnel:  Nils Landgren – lead vocals, trombone, trumpet;  Johan Norberg – guitar, backup vocals, accordion

Chapter Two/2

---