Jimmy Durante - Jimmy Durante's Way Of Life

Bitrate: MP3@320K/s
Time: 27:07
Size: 62.1 MB
Styles: EasyListening, Traditional pop
Year: 1965/1998
Art: Front

[3:10] 1. A Way Of Life
[2:28] 2. My Wish
[2:25] 3. As Time Goes By
[1:50] 4. Make Someone Happy
[3:10] 5. I'll Be Seeing You
[2:33] 6. When Day Is Done
[2:56] 7. When I Lost You
[2:43] 8. If I Had You
[2:52] 9. Once To Every Heart
[2:56] 10. I'll See You In My Dreams

If any performer can truly be said to have carved out his own comedic turf, made a huge success out of it lasting over several decades, while completely owning that piece of turf lock, stock, and barrel, then that performer would have to be Jimmy Durante. There never has been -- nor is there likely ever to be -- a stylistic school of Durante; the man and his character are of one piece and ingrained in the national consciousness to the extreme. Anyone foolish enough to start appropriating any part of his act would be immediately branded as a slavish imitator -- someone just merely "doing Durante" -- while always being doomed to comparison with the one and only real-deal "Schnozzola" and again, falling well short of the mark. On the surface, Durante's mega-success defied all commonly understood show business laws. No one with such a gravelly voice should have been able to put over a song as well as he did. No one as ugly as him should have made as much profitable hay as he did about being that ugly, and parlaying those looks into a movie career at that. No one wore rumpled suits and a beat-up fedora (covering what little hair he had left), smoked a cheap cigar, and mangled the English language with more charm and hilarity than he. No one won the hearts of his audience by simply being himself -- a comic Everyman from the poor side of town -- than did one Jimmy Durante. He didn't sing good, he didn't look good, and he had the audacity to keep bringing it up, he dressed like a bum, and couldn't say a complete sentence without screwing up some (or all) of the words. Not much of a show business résumé on the surface of it, but Durante's uncloneable charm gathered its main strength from being just that; an average guy who -- as one critic put it -- "acted like a heckler from an audience who had finally decided he could do a better job himself and, upsetting all conventional show business decorum, had snuck into the spotlight." There was not one subtle thing about Jimmy Durante; whether it was wrecking a piano and throwing the resultant debris at the audience, singing a song like "I Know Darn Well I Can Do Without Broadway (But Can Broadway Do Without Me?)," or doing a complete about face and providing a brief glimpse of the wistful side of his character, he tapped the deepest of emotions every single time and did it at full bore. ~Cub Koda

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Martial Solal - Martial Solal Trio

Bitrate: MP3@320K/s
Time: 57:36
Size: 131.9 MB
Styles: Piano jazz
Year: 2016
Art: Front

[2:43] 1. La Chaloupée
[2:59] 2. The Champ
[2:54] 3. Ramona
[3:00] 4. Dinah
[2:58] 5. Poinciana
[3:18] 6. Farniente
[2:38] 7. Pennies From Heaven
[2:38] 8. Once In A While
[2:55] 9. Signal
[2:49] 10. Midi 1 4
[2:29] 11. Just One Of Those Things
[2:48] 12. You're Not The Kind Of Boy
[2:52] 13. Only Have Eyes For You
[2:30] 14. You Stepped Out Of A Dream
[3:30] 15. Darn That Dream
[2:51] 16. The Way You Look Tonight
[3:36] 17. My Funny Valentine
[2:26] 18. The Song Is You
[2:43] 19. Ridikool
[2:51] 20. You Go To My Head

Solal's concept can be associated with a deep understanding of the fact that music is a language and each performance is a conversation between the participants.

The pianist has a lot of ideas to share and each of them is delegated the appropriate amount of time so that the audience can only glimpse its depth. His sequences can easily be translated into sentences, as opposed to more classical approaches where ideas are explored through whole paragraphs or entire chapters. This makes the Solal experience an intense and lively listen which captures the attention thoroughly. One could go so far as to say that even the normal silences and pauses during a verbal "normal" conversation between people are interpreted as tension points in Solal's musical improvisation.

His skill with the instrument is astounding and he is quoted saying this regarding his technique: "The best you play you have to make people believe that it's very easy, even when it's very difficult. If you look to have trouble with the technique, it is no good. You must play the most difficult thing like this: " (Martial Solal interviewed by Larry Appelbaum just before his concert at the Library of Congress, April 11, 2011).

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Lalo Schifrin - Latin Jazz Suite

Bitrate: MP3@320K/s
Time: 64:59
Size: 148.8 MB
Styles: Big band
Year: 1999
Art: Front

[ 7:33] 1. Montuno
[ 7:48] 2. Martinique
[12:42] 3. Pampas
[12:44] 4. Fiesta
[15:21] 5. Ritual
[ 8:49] 6. Manaos

Bass – John Goldsby; Bass Trombone – Lucas Schmid; Ensemble – WDR Big Band ; Drums – Ignacio Berroa; Percussion – Alex Acuña, Alphonso Garrido, Marcio Doctor; Piano – Lalo Schifrin; Tenor Saxophone, Soprano Saxophone – David Sanchez; Trumpet – Jon Faddis; Guitar – Paul Shigihara; Piano, Organ – Frank Chastenier; Reeds – Harald Rosenstein, Heiner Wiberny, Jens Neufang, Olivier Peters, Rolf Römer; Trombone – Bernt Laukamp, Dave Horler, Ludwig Nuß; Trumpet, Flugelhorn – Andy Haderer, John Marshall, Klaus Osterloh, Rick Kiefer, Rob Bruynen. Recorded live at Klaus-von-Bismarck-Saal on June 18 & 19, 1999.

Lalo Schifrin's Latin Jazz Suite is a masterful celebration of the diverse and colorful sounds and feelings that Latin forms add to the jazz vocabulary. It is also a reflection of the composer's successful contributions to the Latin musical language over the last four decades. This enthralling, consistently engaging six-piece suite - recorded live over two nights of its June 1999 premiere in Cologne, Germany — most recalls Schifrin's historic Gillespiana suite. But Latin Jazz Suite is a milestone of arguably greater proportion. As a composer, Schifrin here reveals a greater, more refined depth of maturity, a worldly mastery of musical forms and a perfected sensibility for the drama and adventure of long-form structures.

The suite scales Cuban ("Montuno"), Caribbean ("Martinique") and Argentinean ("Pampas") structures to those informed by Brazilian ("Manaos"), African (the superb "Ritual") and flamenco ("Fiesta") styles. Percussion flavors subtly throughout, but never dominates or overwhelms. Schifrin's no tourist. He uses his compositional prowess to suggest the different landscapes he traverses. He also divides the star roles most intriguingly. The orchestra — voiced here by the great WDR Big Band, which commissioned the work — carries the majority of the melodies and punctuates poetically with some of Schifrin's most Gil Evans-like scoring (perhaps acknowledging the influence of Sketches of Spain ). Solos are manned by an exciting triumvirate including Schifrin (marvelous) on piano, Jon Faddis (at his Dizzyest best) and young firebrand David Sanchez on tenor and soprano saxophones. A stronger triad is difficult to conceive.

The suite's highlight is the pulsating, chant-like "Ritual," a hypnotic and vibrant piece in 12/8 time that elicits especially commanding solos from Faddis, Sanchez and, most notably, Schifrin himself. Other highlights include the catchy "Martinique," a Caribbean polyglot of Sonny Rollins's "St. Thomas" and Schifrin's own "Roulette Rhumba," and the concerto-like beauty of "Pampas," Schifrin's visit back to a 1978 theme (from his underrated Gypsies LP) enlivened most imaginatively by "Street Tattoo," the composer's theme to the film, Boulevard Nights.

This 65-minute opus ultimately suggests a sort of jazz symphony. The invention of Schifrin's conception interacting with the wit and verve of the players protect against any kind of museum-quality stodginess too. As it unfurls, it reveals itself as a most entertaining work. When it's over, it lingers in the mind and the heart as a real work of art. Surely, Latin Jazz Suite is among the best, most memorable jazz recordings of the year and like Gillespiana, Jazz Mass and Marquis de Sade, one of the great jazz achievements in Lalo Schifrin's provocative career. ~Douglas Payne

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Dip Ferrell & The Truetones - Get Ready For The Truetones

Bitrate: MP3@320K/s
Time: 37:37
Size: 86.1 MB
Styles: R&B, Carolina Shag
Year: 2006
Art: Front

[2:58] 1. One Sure Way
[2:47] 2. Ooh Girl Don't Stop
[2:56] 3. Never Gonna Be Alone Anymore
[3:14] 4. No Doubt
[2:41] 5. People Get Ready
[3:05] 6. Everlasting Love
[3:27] 7. Life Ain't Easy
[4:50] 8. Fly Away
[2:59] 9. Don't Blame Me
[4:21] 10. Man Oh Man
[4:15] 11. South Carolina

Just good old southern beach rock. Get Ready For The Truetones was released in 2006 with a fresh new sound that included killer tracks such as Ooh Girl Don't Stop (also recorded by The Craig Woolard Band), Don't Blame Me (also recorded by Part Time Party Time Band), One Sure Way, Everlasting Love and the one I felt had the right groove to go high on the Beach charts, the highly shaggable No Doubt, which is still in my Internet radio station rotation. Nine of the eleven tunes on the album were originals written by Billy and Jack, but the two covers they chose to do were also truly outstanding – Never Gonna Be Alone Anymore and People Get Ready!

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Melissa Elliotte - Sunshine Moonlight

Bitrate: MP3@320K/s
Time: 33:32
Size: 76.8 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:20] 1. You're The One
[4:04] 2. Romance Me For A Week
[3:06] 3. Darling
[3:06] 4. Baby Baby
[3:53] 5. I'll Have No One
[5:19] 6. Don't You Cry
[5:12] 7. Les Amants
[3:16] 8. Sunshine Moonlight
[3:12] 9. It Must Be Love

American singer-songwriter Melissa Elliotte's debut album "Sunshine Moonlight" produced by Irish guitarist David Keary (Jerry Lee Lewis, Andrew Strong, former musical director for Flatley's Lord of the Dance) and mixed by Nashville's 5-time Grammy winner Gary Paczosa (Dixie Chicks, Alison Krauss, Dolly Parton, Nickel Creek) is NOW AVAILABLE. All songs are original and written/arranged by Melissa Elliotte and David Keary.

At age 12, Melissa began her first important step in music by finding a professional voice instructor in the renowned Grace Buckley of New York City. Though always involved in music, Melissa continued her education and received a Masters in French while studying in France for several years. She moved to Ireland to work for an international business but continued to write songs on the side. In Ireland's musical culture of pub singsongs, Melissa flourished as more people commented to her “you're in the wrong business, give up the day job.” With newly gained confidence, she took a week's holiday to record 6 of her songs in a studio in Galway. One of her songs, “No One Else,” went on to be covered by the popular Irish singer Frances Black for her album “How High the Moon.” After this recording experience, she was hooked and left her job 2 months later.

Since then, Melissa has been fortunate enough to work with drummer/percussionist Ray Feane (U2, Sinead O'Connor, Elvis Costello, Crowded House), keyboardist Paul Trudeau (Meredith Brooks, Mandy Moore, Lifeline), fiddler Nollaig Casey (Mary Black, River Dance) plus Chris Hillman from the legendary band, the Byrds. She has been successfully performing in Ireland including support to Frances Black, Lloyd Cole and Mercury Award winner John Spillane and was featured on the UK gold compilation album, “Songbird.” She also recently performed as a guest artist at the legendary Bohemian Caverns jazz club in Washington D.C. where the great Duke Ellington himself started!

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Gerardo Gandini - Postangos En Vivo

Bitrate: MP3@320K/s
Time: 46:32
Size: 106.5 MB
Styles: Piano, World music
Year: 2003
Art: Front

[ 5:27] 1. Los Mareados
[ 3:54] 2. La Cumparsita
[ 5:23] 3. La Casita De Mis Viejos
[ 4:59] 4. Tema De La Nube
[ 4:14] 5. Chau Paris
[16:59] 6. Gardel X 4 (Soledad)
[ 3:13] 7. Improvisaciones I
[ 2:19] 8. Improvisaciones II

Composer and pianist, were born in Buenos Aires in 1936. He carried out composition studies with Alberto Ginastera and then in the Academy Santa Cecilia from Rome with Goffredo Petrassi. Their piano studies were carried out with the guide of Pious Sebastiani, Roberto Caamaño and Ivonne Loriod. As composer he has received numerous distinctions and scholarships. Among the last ones, that of the Institute of International Education (Young Artist Project"), in New york in 1964-1965, that of the Italian Government, in Rome, in 1966y the Guggenheim in 1982. He/she obtained the Municipal Prize of Composition (Buenos Aires, 1960), the first prize in the international competition organized by the Congress for the Freedom of the Culture (Rome, 1962), the first prize of music of camera of the Argentinean Mozarteum (1963), the Prize of the Musical Youths from Spain (1970), the prize Opera of Camera of the Municipality of the City of Buenos Aires (1971); in 1974 it was selected as one of the Ten Young Sobresaliantes of the Aryan in the Argentina and in 1977, it was granted him the Premio Moliére of the government from France for music for theater. They have been commissioned him works for the Asociación Amigos of the Music of Buenos Aires, for the September Musical tucumano", the Paul Fromm music Foundation, Esso Argentina", the Municipality of the City of Buenos Aires, etc.

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Bud Powell - Piano Solos

Bitrate: MP3@320K/s
Time: 25:48
Size: 59.1 MB
Styles: Piano jazz
Year: 1949/2003
Art: Front

[3:14] 1. So Sorry, Please
[3:09] 2. April In Paris
[2:52] 3. Get Happy
[3:46] 4. Tea For Two
[2:48] 5. Sweet Georgia Brown
[3:21] 6. Body And Soul
[3:36] 7. Sometimes I'm Happy
[2:59] 8. Hallelujah

Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist. Though Thelonious Monk was a close friend and influence, his greatest piano influence was Art Tatum.

Along with Charlie Parker, Monk, and Dizzy Gillespie, Powell was a leading figure in the development of modern jazz, or bebop. His virtuosity led many to call him the Charlie Parker of the piano. Powell was also a composer, and many jazz critics credit his works and his playing as having "greatly extended the range of jazz harmony."

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Cleo Laine - Stormy Weather

Bitrate: MP3@320K/s
Time: 41:40
Size: 95.4 MB
Styles: Vocal
Year: 2009
Art: Front

[3:32] 1. Stormy Weather
[3:47] 2. The Lady Sings The Blues
[2:54] 3. Mean To Me
[3:26] 4. Mood Indigo
[2:52] 5. I'll Get By (As Long As I Have You)
[3:56] 6. My One And Only Love
[3:28] 7. Love Is Here To Stay
[3:33] 8. Early Autumn
[3:53] 9. St Louis Blues
[2:57] 10. t'ain't What You Do (It's The Way You Do It)
[3:57] 11. Happiness Is A Thing Called Joe
[3:18] 12. Hit The Road To Dreamland

Anglo-Jamaican contralto Cleo Laine cut her first records for the Esquire label in the early 1950s with saxophonist and bandleader John Dankworth, whom she married in 1958. Over the next several decades, Laine became established as England's premiere pop singer, actress, and jazz vocalist. As is the case with any artist whose recording career spans more than half-a-century, her discography contains enough reissued material to suggest the dynamic of a Möbius strip. Case in point: the album Stormy Weather was brought before the public by Hallmark in 2009. It is a reissue of the same label's 2008 release In Retrospect, with "Stormy Weather" moved to cut one and designated as title track. Both albums trace back to DRG's In Retrospect, which appeared in 1990 with the 12 titles in completely different order -- a relevant point because the title sequence on the 2008 Hallmark edition is identical with that of Laine's groundbreaking 1957 MGM LP She's the Tops. Unfortunately, some online discographies list In Retrospect as the title of both the original 1957 release and a 1982 reissue of the same on the DRG Jazz Masters Series. These grievous errors have, as we say in the 21st century, gone viral online. In Retrospect, as the title clearly implies, was the fully seasoned vocalist's song-for-song re-creation of her landmark album, which had appeared 33 years earlier.

Compared with her later self, the Cleo Laine of 1957 worked with a higher tessitura, delivering upbeat numbers and lush ballads with a youthful, slightly sassy resilience. For all the right reasons, Laine in 1957 was fully in league with such powerful beacons of warmth as Dinah Washington and Eartha Kitt. The songs themselves suggest a keen awareness of the tradition designed and developed by Duke Ellington, Billie Holiday, Lester Young, Ella Fitzgerald, and Lena Horne. Revisiting the same dozen melodies in 1990, she brought a fully bloomed elegance to each of the tunes. Everything we adore about Cleo Laine is fully present in these autumnal interpretations; the smoky, musky, honeyed immediacy of her art is here for all to experience. Whether you opt for Hallmark's Stormy Weather of 2009 or one of the preceding issues of In Retrospect, this array of 12 standards is recommended as a definitive example of Laine's refined skill as interpreter of well-loved melodies. The album of 1990 compares beautifully with her 1957 recording of the same material. Those who wish to experience this singer's artistry even more fully should pursue her 1974 Nonesuch recording of early 20th century chamber classical works by Charles Ives and Arnold Schoenberg (Pierrot Lunaire Op.21 sung in English), as well as an inexplicably overlooked reading of Porgy and Bess, recorded for Norman Granz's Pablo label in 1976 in duo performance with the mighty Ray Charles. ~arwulf arwulf

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Larry Schneider - Summertime In Sanremo

Bitrate: MP3@320K/s
Time: 64:29
Size: 147.6 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[ 7:10] 1. My One And Only Love
[ 8:46] 2. The Night Has A Thousand Eyes
[ 6:02] 3. Mohawk
[ 7:46] 4. You Don't Know What Love Is
[ 3:37] 5. Orange Rouge
[ 6:55] 6. The Days Of Wine And Roses
[11:12] 7. Italian Movie
[ 9:53] 8. Tropax
[ 3:03] 9. Stardust

What is so appealing about Larry Schneider is his ability to absorb so many different styles of jazz and to do it well. Previously, he has shown an affinity for Ornette Coleman and Sonny Rollins, and here you can hear Bird and Trane with a touch of Rollins, but no Ornette. Schneider's version of "My One and Only Love" features the sort of thin-toned melody line that Coltrane expressed so well. Schneider follows up with a stunning solo. The backup, consisting of guitar, vibes, bass, and drums, is adequate, but it is Schneider who lights the fireworks when they occur. His appealing, big tone is most effective on the ballads, such as "The Days of Wine and Roses" or "You Don't Know What Love Is." Even on the faster tunes, such as "The Night Has a Thousand Eyes," his throaty tone steals the show. Bird's "Mohawk" is taken at a relaxed pace, but the leader double times it, not giving in an inch. All the compositions are not up to snuff, but on the ones that are, Schneider sets the pace. ~Steve Loewy

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The Critters - Tracks

Bitrate: MP3@320K/s
Time: 51:06
Size: 117.0 MB
Styles: AM Pop, Folk-rock
Year: 2008
Art: Front

[2:25] 1. Children And Flowers
[5:17] 2. He'll Make You Cry
[3:04] 3. Little Girl
[2:01] 4. Heart Of Love, Heart Of Stone
[2:46] 5. Mr. Dieingly Sad
[2:41] 6. Gone For Awhile
[2:23] 7. Younger Girl
[2:18] 8. It Just Won't Be That Way
[1:47] 9. Come Back On A Rainy Day
[3:07] 10. Best Love You'll Ever Have Forever Or No More
[2:16] 11. Forever Or No More
[2:44] 12. I Wear A Silly Grin
[2:12] 13. Blow My Mind
[2:03] 14. Everything But Time
[2:02] 15. Bad Misunderstanding
[2:29] 16. Marryin' Kind Of Love
[2:38] 17. New York Bound
[2:02] 18. Don't Let The Rain Fall On Me
[2:19] 19. Walk Like A Man Again
[2:22] 20. Dancing In The Street

In 1966, this New Jersey group came off very much like a Lovin' Spoonful Jr., scoring a minor hit with a cover of John Sebastian's "Younger Girl" and then chalking up their only Top 20 single with the very Spoonful-esque original "Mr. Dieingly Sad." The group's soft harmonies and pop folk-rock were in a considerably lighter vein than their Kama Sutra labelmates, though. Much of their material was self-penned, though they also benefited from compositions by Jackie DeShannon and Brill Building tunesmiths Pete Anders, Vinnie Poncia, and Doc Pomus. Recording quite a few singles and an LP for Kama Sutra from 1965 to 1967, their gentle pop/rock was rather lightweight, with the exception of their best singles. After a final Top 40 hit in 1967 ("Don't Let the Rain Fall Down on Me"), principal songwriter Don Ciccone was drafted, and the group struggled on with a couple albums for the Project 3 label before splitting. ~ Richie Unterberger

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Steve Tyrell - A Song For You

Bitrate: MP3@320K/s
Time: 44:15
Size: 101.3 MB
Styles: Vocal
Year: 2018
Art: Front

[3:52] 1. Someone Like You
[4:43] 2. Come Rain Or Come Shine
[4:18] 3. Try A Little Tenderness
[4:18] 4. A Song For You
[3:31] 5. Sunday Kind Of Love
[4:13] 6. When I Fall In Love (Feat. Judith Hill)
[4:07] 7. Come Live With Me
[3:46] 8. You Are So Beautiful (Feat. Judith Hill)
[4:05] 9. To Be Loved
[3:02] 10. The Good Life
[4:16] 11. Always On My Mind

A Song For You furthers Tyrell's vision of bridging songwriting from the rock era with that of the standards era, placing at its core the fundamental immortality of great songwriting. It draws a through-line from modern classics, such as Van Morrison's "Someone Like You," to the timeless romanticism of Victor Young and Edward Heyman's "When I Fall In Love." Also featured on the record is the final work of Tyrell's friend and collaborator, the legendary Paul Buckmaster-one of the foremost arrangers and concertmasters of the rock era. "A Song For You" was the very last song Buckmaster worked on in his storied Grammy Award-winning career.

"Most of the songs I've sung are standards, ripped from the pages of the Great American Songbook. This album has quite a few of those, and I'm thrilled to return to that era again," says Tyrell. "These are timeless tunes, and their lyrics tear at your heartstrings. Some are upbeat, some are ballads, but the common thread is that they are all about love-whether you're hoping for it, reveling in it, or just giving it your best shot!"

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Wes Montgomery - Plays The Hits

Bitrate: MP3@320K/s
Time: 26:01
Size: 59.6 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[2:11] 1. Goin' Out Of My Head
[3:20] 2. Tequila
[3:06] 3. California Dreaming
[2:18] 4. Windy
[2:53] 5. When A Man Loves A Woman
[4:48] 6. What The World Needs Now Is Love
[3:56] 7. Sunny
[3:25] 8. Yesterday

The Great Songs/Great Performances series by Verve is a new attempt to get prospective buyers interested in its vast jazz catalog, introducing them to large-scale hits by artists who appeared either on its label proper or on one of its licensees'. In the case of guitarist Wes Montgomery, Plays the Hits, it only takes eight tracks and just over 26 minutes. Montgomery is respected by jazz aficionados for his brilliant technique and soulfulness; many regard his '50s recordings for Riverside as his finest. The record-buying public didn’t see it that way. These tracks, all produced by Creed Taylor, are his versions of the rock, pop, and soul hits of the era, and each one landed as a charting single. Featured here are his own jazzy bossa recording of “Goin’ Out of My Head” (which echoed virtually all the vocal versions of the tune at the time); his signature takes on “California Dreamin’” (that literally defined soul-jazz as Verve interpreted it); the Association’s “Windy”; Bobby Hebb's “Sunny,” the Percy Sledge vehicle “When a Man Loves a Woman,” and the Beatles’ “Yesterday,” among others. Montgomery’s touch was light, breezy, full of groove -- if not swing -- and orchestrated by a team of pros. His voice ion the guitar was the sound of singing itself. All these cuts are heavily orchestrated but contain more soul than schmaltz, and the arrangements are terrific (the latter two cuts mentioned above were charted out by Don Sebesky). Any serious fan of Montgomery has this stuff many times over, but for the uninitiated, or those seeking some good-time, summery guitar grooves, the music can’t be beat -- especially at this price. ~Thom Jurek

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Ethel Ennis - The Great American Songbook

Size: 157,5 MB
Time: 67:35
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Taking A Chance On Love (2:47)
02. Blue Prelude (3:02)
03. I've Got You Under My Skin (2:59)
04. You'd Better Go Now (3:45)
05. How About Me (3:36)
06. Love For Sale (3:29)
07. Then I'll Be Tired Of You (2:48)
08. My Foolish Heart (3:07)
09. I Still Get A Thrill (2:36)
10. For All We Know (2:15)
11. Happiness Is A Thing Called Joe (4:56)
12. The Song Is Ended (2:26)
13. There's No Fool Like An Old Fool (2:50)
14. I Cried For You (5:13)
15. Ev'ry Time We Say Goodbye (2:44)
16. Serenade In Blue (3:07)
17. Deed I Do (Benny Goodman & His Orchestra) (2:45)
18. A Fine Romance (Benny Goodman & His Orchestra) (2:14)
19. I Gotta Right To Sing The Blues - I Hadn't Anyone Till You - I've Got You Under My Skin (Benny Goodman & His Orchestra) (4:49)
20. There's No Fool Like An Old Fool (Benny Goodman & His Orchestra) (3:28)
21. The Song Is Ended (Benny Goodman & His Orchestra) (2:29)

Ethel Ennis first won national recognition for her recording “Lullaby for Losers” in 1955. In 1958, she was selected by Benny Goodman as the female vocalist for his all-star band. Later, she was chosen as a featured singer on the Arthur Godfrey Show. After performing at the 1964 Newport Jazz Festival with Billy Taylor, Cozy Cole, and Slam Stewart, she appeared with Duke Ellington and his Orchestra on television's “Bell Telephone Hour.” She followed those amazing achievements by wowing them at the Monterey Jazz Festival in duets with Joe Williams. She returned to her hometown to perform in concerts with the Count Basie Band and the Baltimore Symphony Orchestra. During that same period, she shared the bill with Cab Calloway at Harlem's Apollo Theater and played supper clubs and concert halls all over the country.

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Carlos Do Carmo - Carlos Do Carmo & Bernardo Sassetti

Size: 111,5 MB
Time: 48:19
File: MP3 @ 320K/s
Released: 2010
Styles: Chanson, Contemporary Jazz, Fado, Folk
Art: Front

01. Retrato (3:24)
02. Cantigas Do Maio (4:45)
03. Lisboa Que Amanhece (6:02)
04. Gracias A La Vida (4:40)
05. Porto Sentido (6:02)
06. O Sol (5:23)
07. Foi Por Ela (4:17)
08. Avec Le Temps (4:58)
09. Quand On N'a Que L'amour (4:50)
10. Talvez Por Acaso (3:53)

Personnel:
Carlos Do Carmo: Vocals
Bernardo Sassetti: Piano

It's not an album of fado? It's not a jazz album? It's a fusion between the musical personalities of Carlos do Carmo and Bernardo Sassetti. A single line between the classic repertoire of Portuguese music and the timeless themes of the international repertoire.

This is an album with no secrets, at least as far as Carlos Do Carmo's voice (which comes up pure, without trapezoids, with no processing) is concerned. But it was a challenge because he was in danger of some monotony. And if this challenge is overcome with distinction and class, it is due to Bernardo Sassetti's superb and powerful performance: the pianist never puts himself above the voice, knows how to give him space and dynamic breathing and then at the moments when he assumes greater harmonic strength is brilliant, exemplary.

Then both musicians give themselves to the neighbor by welcoming him in return. Sassetti embraces a popular sense, while being exuberant and Carlos Do Carmo receives from the pianist a new adventure, which embraces as a young man, maintaining all its sophistication. It is a dialogue, which becomes touching, of mutual admiration this album, and also of admiration to the great authors of Portuguese music - these versions seem to me more passionate, those of Jacques Brel, "Quand On N'a Que L'Amour ", Léo Ferré," Avec Le Temps "and Violeta Parra," Gracias La Vida ", are emotionally more distant, but perhaps this is also a response of a lover of Portuguese music. A work that evokes a revival of Portuguese music in a erudite sense, maintaining the most important sensitivity of all: the proximity to the public. (From Portuguese)

Carlos Do Carmo & Bernardo Sassetti

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Barry Greene - Resurgence

Size: 119,5 MB
Time: 51:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. A Minor Issue (6:55)
02. Resurgence (5:02)
03. In Her Room (6:07)
04. Periphery (7:29)
05. A Sweet Memory (3:42)
06. Jivin' And Connivin' (4:27)
07. The Allure (5:32)
08. Rolling Up Hill (7:12)
09. Not Even Friends (4:35)

When I think about a guitarist being the “complete package,” I am referring to virtuosos like Barry Greene and his new, all-originals CD Resurgence. Barry is a highly respected jazz educator, internationally acclaimed and revered for his blistering technique and soulful versatility. Now his compositions will highlight his trifecta of talent. The record is full of twists and turns: bebop rawness and virtuosity in Resurgence; bluesy and soulful passion of In Her Room; contemporary edge of Periphery; and sensitive harmonically sophisticated fingerstyle of A Sweet Memory’. His sound is precise and articulate, constantly flowing and dynamic. His sidemen Kevin Bales piano/keyboard, Jason Stewart bass and Jaminson Ross on drums are locked in, creating a tasteful and intricate platform to highlight Barry’s sound and style. Barry’s Resurgence is thoughtful and flawlessly executed and will stand the test of time as an example of what it means to dedicate a lifetime to both the love of jazz and the pursuit of guitar mastery..

Resurgence

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Wendy Jo Bradshaw - For My Dad

Size: 100,5 MB
Time: 31:40
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Big Band
Art: Front

01. I've Got You Under My Skin (3:19)
02. The More I See You (2:22)
03. Fly Me To The Moon (3:00)
04. Our Love Is Here To Stay (2:56)
05. Stormy Weather (2:58)
06. Autumn Leaves (2:31)
07. Don't Get Around Much Anymore (2:00)
08. Paper Moon (2:01)
09. I'll Be Seeing You (2:51)
10. Sunny Side Of The Street (2:17)
11. Traveling (Magic Forest Treasure) (5:19)

Wendy Jo Bradshaw is a Nammy (Native American Music Award) Nominated, singer-songwriter, recording artist and author whose throwback sound and sultry, smooth voice takes you on a journey through timeless Jazz & Big Band classics. Her featured Jazz albums For My Dad – Wendy Jo Bradshaw, and Evening Interlude, were both produced by Wendy Jo Bradshaw, and arranged by Lex de Azevedo on piano. Wendy also introduces her original song TRAVELING, which was written and arranged by Wendy. Wendy’s Jazz albums feature unique arrangements of the warm, smoky, jazz style standards from the 30’s, 40’s, and 50’s.

Wendy is also an accomplished songwriter and has written and recorded many finely crafted World/Native American songs. Her compositions feature haunting melodies, vocals, and lyrics that she hopes promote peace, harmony, and healing while expressing her love of the Earth and of The People. In her recordings Wendy is accompanied by several well- known American Indian musicians and singers.

Wendy’s warm and upbeat connection with her audience is infectious. Her voice not only sweetly presses upon the senses and pulls a listener towards serenity. Wendy’s has a beautiful and generous heart which is clearly recognized in her music. Her talent is a gift that offers inspiration, hope, and love to the listener.

For My Dad

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Brian Culbertson - Colors Of Love

Size: 146,5 MB
Time: 63:03
File: MP3 @ 320K/s
Released: 2018
Styles: Smooth Jazz, R&B, Funk
Art: Front

01. Colors Of Love (5:23)
02. I Want You (3:54)
03. Love Transcended (4:56)
04. Don't Go (5:28)
05. You're Magic (4:23)
06. Through The Years (3:41)
07. In A Dream (5:53)
08. Let's Chill (5:49)
09. Desire (4:35)
10. Michelle's Theme (4:03)
11. In Your Embrace (4:02)
12. The Look (6:36)
13. All My Heart (4:13)

Brian Culbertson is an award-winning multi-instrumentalist, songwriter and producer known for his distinct brand of genre-crossing contemporary jazz, R&B and funk. Mining the urban sounds of musically-rich Chicago, he began his musical studies on piano at age eight and quickly picked up several other instruments by the time he was twelve, including drums, trombone, bass and euphonium. Inspired by the iconic R&B-jazz- pop artists of the 1970s like Earth, Wind & Fire, Tower of Power, Chicago, David Sanborn and others, Culbertson started composing original music for his seventh grade piano recital and hasn’t stopped since, amassing 30 Billboard No. 1 singles (and counting!) and a deep catalogue of 18 albums, most of which have topped the Billboard contemporary jazz charts.

Having worked and performed with countless industry all-stars such as Michael McDonald, Chris Botti, Ledisi, Barry Manilow, Herb Alpert, Natalie Cole, Maurice White (EWF), Chuck Brown and Bootsy Collins just to name a few, Culbertson has won numerous awards and accolades along with nominations from the NAACP Image Awards and Soul Train Awards. In 2012, he founded the Napa Valley Jazz Getaway, a flourishing wine, music and lifestyle experience for which he also serves as artistic director. With love, romance and his recent twentieth wedding anniversary serving as his inspiration, Culbertson crafted thirteen new songs that will be released as “Colors of Love” on Valentine’s Day. The seduction begins with the first single, the amorous title track, which is a sensual R&B groove illuminated by lyrical acoustic piano melodies typical of the collection’s contents. A nearly three-month- long U.S. concert tour will bring “Colors of Love” to life in a vivid theatrical production, incorporating video elements in a major way.

Regardless of his success and numerous accomplishments, fans can rest assured that Culbertson always brings his very best – and brings the very best out of others – in all of his broad-ranging musical and creative endeavors.

Colors Of Love

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Denise King - Sings The Dance

Size: 144,6 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Rock
Art: Front

01. Bad Girls (3:50)
02. Get Down Tonight (3:24)
03. You Are The First (4:04)
04. (Simply) The Best (5:40)
05. I Will Survive (3:41)
06. Hot Stuff (3:46)
07. Give Me The Night (2:39)
08. Car Wash (4:05)
09. Lady Marmalade (4:41)
10. I Can't Take My Eyes Off You (3:20)
11. Good Times (4:07)
12. Got To Be Real (3:42)
13. Sunny (3:49)
14. What A Feeling (3:15)
15. I Can See Clearly Now (2:43)
16. Lovely Day (4:52)

Denise King sings jazz standards with touches of the blues, soul and even gospel in a voice steeped in a sophisticated, swinging, sometimes soulful, satin style much like one of her idols, Sarah Vaughan. Denise King has sung in clubs and concert halls in Philadelphia, New York, Paris, Italy, Turkey, Brazil, UK, Africa, Germany, Austria and Japan during the past 20 years. Her career began late and she has proclaimed herself a torch bearer. During her career she has performed with many renown Jazz musicians such as Archie Shepp, Chris McBride, Massimo Farao, Tony Match, Peter Giron, Chris Culpo Lex Humphries, Sid Simmons, Arthur Harper, Sam Dockery, Wayne Dockery, Jerry Weldon, Cecil McBee, Curtis Lundy, Steve WIlliams to name a few. She has recorded six CD’s which continue to delight her many fans. In 2009 with Cristal Records No Tricks was released and very well received. In 2011 she was nominated Best Jazz Vocals in France by Academie Du jazz. Her second release with Cristal Records Give Me The High sign was released in 2012 to great reviews. She is currently on tour throughout Europe.

Denise King was born and raised in West Philadelphia and is the third of five children. She was always an artistic person, focusing at a very young age on visual arts, fashion design and dance. Born with a passion for anything artistic, she danced and sang in high school. At thirteen she was introduced to Jazz by an uncle, Herbert Tatum, who had an extensive collection of Jazz LP’s and a cousin Cynthia who had a love of Nina Simone. Her “studies” involved hours of listening to the Jazz greats, both vocalists and instrumentalists. Denise borrowed phrasing styles from Sarah Vaughan, Ella Fitzgerald, Nat “King” Cole and Frank Sinatra. She gained an appreciation for lyrics from Lil Jimmy Scott, Nancy Wilson, Carmen McCrae and Nina Simone. Listening as intensely to Jazz as she did R&B or music of her era she had no idea that her listening sessions were preparing her for a career in music.

She was “discovered” by a friend who heard her singing outside of her home and introduced her to the world of Jazz performance. The early gigs were difficult in that she was painfully stage shy. But with the help of Sam Reed, sax man and leader of the legendary Uptown Theater Orchestra she overcame her stage fright. Her early performance experiences involved sharing the stage with many legends, Butch Ballard, Arthur Harper, Sam Dougherty, Cecil Payne, Jymie Merritt, Bootsie Barnes, Lex Humphries and many, many more.10

A singer, who cares about the song, Ms King said: “I’m a sucker for the lyrics and not interested in vocal gymnastics. I want to hear the story the writer has to tell.” And for this, those who share King”s love of Gershwin and Porter, can only be thankful. She sings pop and jazz standards with touches of the blues, soul and even gospel in a voice steeped in a sophisticated, swinging, sometimes soulful, satin style much like one of her idol, Sarah Vaughan.

Sings The Dance

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Slim Gaillard, Babs Gonzales - Shuckin' & Jivin'

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: R&B/Jazz/Blues
Year: 1975/1997
Art: Front

[3:02] 1. Vout Orenee
[2:29] 2. Please Wait For Me
[2:51] 3. Sighing Boogie
[2:52] 4. Queen's Boogie
[2:51] 5. Voot Boogie
[2:48] 6. Nightmare Boogie
[2:43] 7. Slim Gaillard's Boogie
[2:40] 8. Harlem Hunch
[2:44] 9. Tutti Frutti
[3:01] 10. Travelin' Blues
[2:45] 11. Sightseeing Boogie
[2:41] 12. Central Avenue Boogie
[2:52] 13. Boogie
[2:40] 14. Slim's Cement Boogie
[2:11] 15. Still Wailin'
[2:26] 16. Shuckin' And Jivin'
[2:57] 17. House Rent Party
[2:57] 18. She's Just Right For Me
[3:19] 19. Be Bop Santa Claus
[3:31] 20. Watch Them Resolutions

This set brings together the work of two artists who delighted in turning language into humorous jive-talk. Gaillard's 14 tracks are all from the mid-'40s and feature three different ensembles: his 10-piece orchestra, a trio under his name, and another trio dubbed the Boogiereeners. His seemingly off-the-cuff riffing belies a dazzling set of skills. Wordplay and invented phrases roll through everything with infectious exuberance. Gaillard was not only an excellent singer, but also an inventive pianist and guitarist. The six numbers that close the set offer a fine contrast in vocalizing as Babs Gonzales carves out his own corner of the scat-singing world. He worked in the '50s, and was a contemporary of Lambert, Hendricks & Ross. However, where they created lyrics to popular instrumental jazz numbers, Gonzales created his own songs, which drew heavily from the pre-beatnik era of jazz talk. ~AMG

Shuckin' & Jivin' mc
Shuckin' & Jivin' zippy

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Stew Cutler - Insignia

Bitrate: MP3@320K/s
Time: 63:19
Size: 144.9 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 7:35] 1. Whisper
[ 2:34] 2. QT
[ 5:30] 3. Lovely Mary
[ 6:51] 4. Left Behind
[ 4:13] 5. East River Delta
[ 4:46] 6. Saudades On 8th Avenue
[ 4:35] 7. Coles Mountain
[ 8:13] 8. Elizabeth
[ 4:58] 9. Left Alone
[13:59] 10. Insignia

Stew Cutler's electric guitar sound borrows from very few discernible sources, and as such is difficult to pigeonhole. There's a leanness to his style that is not enhanced or processed by electronics, though he occasionally does leap out with elements extracted from pedals or effects. Using a spare trio of electric bass guitar and drums, Cutler is just barely on the cutting edge of modern mainstream, contemporary, and even fusion jazz, but hints at it rather than pronounce its glory. On this program of all original music, Cutler plays pleasant swing jazz on "Whisper," utilizes a bluesy slide guitar on "East River Delta," trims a spare modal but intricate line in alternating bars of seven and five during "Saudades on 8th Avenue," and uses loops and effects in an insular self-examination during "Left Alone." "Left Behind" is dissimilar, using a steel-edged rock sound, with beats courtesy of drummer Garry Bruer, that reflects the British fusion of Allan Holdsworth, while a fun and funky "Elizabeth" playfully hops around courtesy of bassist Booker King and "Q.T." is perhaps the most innovative track, with a swirling repeat melody as a prelude to a tick-tock chorus and another bluesy refrain. While Cutler does have moments of languidness, sluggishness, or sentimentality, the music is generally hopeful. The 14-minute title track discourses from slow funk to more upbeat moments, letting the guitarist cut loose a bit. While not yet a distinctive voice, Cutler is quite literate, enjoyable, and witty in an internal manner. His music requires close listening to hear the flowers blooming in very rich soil. ~Michael G. Nastos

Insignia mc
Insignia zippy

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