Steve Laspina - Eclipse

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 64:13
Size: 147,3 MB
Art: Front

(7:20)  1. Inside out
(8:31)  2. New life
(6:17)  3. What?
(3:27)  4. Eclipse
(9:22)  5. Just so you know
(5:47)  6. And now I know
(8:58)  7. When I return
(7:01)  8. Just a phase
(7:26)  9. In search of Peace

Bassist Steve LaSpina (b. March 24, 1954 in Texas) is one of the leading figures of New York’s jazz scene today. Following his first leader album on SteepleChase, LaSpina surrounds himself with the same empathic sidemen as the previous album and continues to concentrate on his own compositions which “ focus on nuance and subtlety ” (JazzTimes).

Besides leading his own group presented here, Steve works regularly with Richie Beirach, Bob Brookmeyer, Tommy Flamagan, Dave Liebmann among others.

Personnel: Steve LaSpina (bass); Billy Drewes (tenor saxophone, alto saxophone, clarinet, bass clarinet);  Marc Copland (piano);  Jeff Hirshfield (drums).

Eclipse

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Brad Mehldau Trio - Seymour Reads The Constitution!

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 64:20
Size: 152,1 MB
Art: Front

( 8:33)  1. Spiral
( 8:06)  2. Seymour Reads The Constitution
( 5:41)  3. Almost Like Being In Love
( 8:46)  4. De-Dah
( 8:15)  5. Friends
(10:07)  6. Ten Tune
( 5:55)  7. Great Day
( 8:55)  8. Beatrice

A straightforward acoustic jazz trio album, 2018's Seymour Reads the Constitution! nonetheless holds surprises for longtime Brad Mehldau fans. Moving away from his genre-bending collaboration with Chris Thile and his equally cross-pollinated exploration of J.S. Bach's classical pieces, After Bach, Mehldau settles into this warmly rendered set of originals and covers that fits nicely into his overall discography. Joining the pianist are his longtime associates bassist Larry Grenadier and drummer Jeff Ballard. Together, they've recorded often since the early 2000s, with Grenadier having worked regularly with Mehldau since the mid-'90s. Consequently, they play with an almost preternatural sensitivity, accenting each other's lines and swinging with an easy, mutative pulse. It's a sound that brings to mind Keith Jarrett, whose iconic trio is a clear touchstone for Mehldau here. The influence is especially felt on the aptly named Mehldau original "Spiral," in which the pianist lays down a descending circular theme in a roiling time signature that has the dreamy feel of riding on a train with your eyes closed. 

They conjure an equally Jarrett-esque vibe on their sophisticated reading of Sam Rivers' classic "Beatrice," with Mehldau moving in and out of tonality during his kinetic, serpentine solo. As intense as that track can be, it never gets out of hand. In fact, much of the album has a balmy, laid-back quality as if it were recorded during a sunny afternoon at home. That sunny atmosphere is also at the core of the title track, in which Mehldau and Grenadier often share the melody, bumping up against each other in a bluesy dance. Elsewhere, they launch into a sprightly rendition of the Lerner & Loewe standard "Almost Like Being in Love" and offer up a bright, waltz-like take on the Beach Boys' "Friends," the latter of which is so friendly you can almost sense Mehldau and his bandmates smiling at each other. ~ Matt Collar https://www.allmusic.com/album/seymour-reads-the-constitution%21-mw0003166661

Personnel:  Brad Mehldau, piano;  Larry Grenadier, bass;  Jeff Ballard, drums.

Seymour Reads The Constitution!

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Sonny Stitt - Only The Blues

Bitrate: MP3@320K/s
Time: 44:05
Size: 100.9 MB
Styles: Bop, Saxophone jazz
Year: 1957/2005
Art: Front

[ 9:57] 1. The String
[11:59] 2. Cleveland Blues
[11:31] 3. B.W. Blues
[10:36] 4. Blues For Bags

Alto Saxophone – Sonny Stitt; Bass – Ray Brown; Drums – Stan Levey; Guitar – Herb Ellis; Piano – Oscar Peterson; Trumpet – Roy Eldridge. Recorded at Capitol Studios in Hollywood, Los Angeles on October 11, 1957.

While the material is basically set up to let Stitt and Roy Eldridge trade off improvisations, when it is these two the result is energetic and totally worthwhile. Eldridge adds a great deal to the date, taking the music back (in feeling) a little bit to an earlier era. He also seems to push Stitt to keep his game at a high level, which he sometimes needed. Oscar Peterson and Ray Brown are their usual first-rate selves. ~Drew Fields

“The String,” is note for note the same as his “Eternal Triangle.” The two horns are quite combative and inspire each other. This is the first time Sonny Stitt and Roy Eldridge have recorded together. Roy, who has reservations about several of the “modernists” in jazz, says of Sonny: “He really comes from the old school. He just kept up. Sonny can get into the meat of a piece where some of the other younger cats can’t. And his time.is really good.”

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Ulf Andersson Band - Flying Carpet

Bitrate: MP3@320K/s
Time: 65:26
Size: 149.8 MB
Styles: Saxophone jazz
Year: 1998
Art: Front

[7:10] 1. Flying Carpet
[8:01] 2. Slow Motion
[4:31] 3. Jamboree
[6:21] 4. Kwaku Baah
[3:30] 5. Early Meeting
[5:01] 6. Straight Flush
[6:26] 7. Tiny Giant
[7:41] 8. Milesology
[5:19] 9. Hermosa Beach
[5:45] 10. Hippodrome
[5:35] 11. Mr. O. Grinders

Ulf Andersson - tenor; Mårten Lundgren - trumpet; Ewan Svensson - guitar; Hans Backenroth - bas; Rune Carlsson - drums.

Here’s a high–energy blowing session by a quintet of Swedes whose radiant concepts have been harvested from the often–plowed but unremittingly productive realm of bop. In a blindfold test, one would not only be hard–pressed to identify their country of origin but even to declare with any degree of certainty that they are not based in, say, New York City or southern California (Andersson, who wrote and arranged all the songs on the disc, even pays tribute to one of the latter area’s Jazz proving grounds with the happy–go–lucky “Hermosa Beach”). Andersson reminds me of any number of talented young tenormen from the States (think Eric Alexander, Bob Mintzer, Chris Potter et al), and the same can be said of his trumpet–playing front–line partner, Lundgren (not far removed from Nicholas Payton, Roy Hargrove, Tom Harrell and so on). Jazz — and this is especially true of its bop–based dialect — has assuredly become an international language, and these European wunderkinds speak it about as fluently as anyone, as do the members of their assiduous and always–supportive rhythm section. As for Andersson’s compositions, they swing with gusto and are about as well–crafted and admirable as any you can envision. The Jazz Messengers would be quite comfortable playing them, as would such contemporary groups as Alexander’s New York–based sextet, One for All. As we said, Andersson knows how to use the language, and his breezy charts are perfectly tailored to harmonize with the quintet’s gregarious point of view. If you’d like to hear some marvelous straight–ahead Jazz and don’t much care where it’s from, climb aboard the Flying Carpet and let this impressive ensemble from far–off Sweden take you on a ride you won’t soon forget. ~Jack Bowers

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Sérgio Mendes, João Gilberto - Tristeza De Nos Dois (Remastered)

Bitrate: MP3@320K/s
Time: 51:39
Size: 118.3 MB
Styles: Latin jazz
Year: 2012
Art: Front

[2:15] 1. Sérgio Mendes - Tristeza De Nos Dois
[1:58] 2. João Gilberto - Corcovado
[1:27] 3. Sérgio Mendes - Dora Lice
[1:47] 4. João Gilberto - Se È Tarde Me Perdoa
[3:05] 5. Sérgio Mendes - Love For Sale
[1:38] 6. João Gilberto - Samba De Uma Nota Só
[2:44] 7. Sérgio Mendes - Disa
[1:51] 8. João Gilberto - Outra Vez
[2:32] 9. Sérgio Mendes - Oba-La-La
[1:49] 10. João Gilberto - Discussão
[2:47] 11. Sérgio Mendes - On Green Dolphin Street
[1:37] 12. João Gilberto - Um Abraço No Bonfá
[2:05] 13. Sérgio Mendes - Tema Sem Palavras
[1:51] 14. João Gilberto - Amor Certinho
[2:48] 15. Sérgio Mendes - Satin Doll
[1:47] 16. João Gilberto - Só Em Teus Braços
[2:55] 17. Sérgio Mendes - Olhou Para Mim
[1:45] 18. João Gilberto - Meditação
[2:51] 19. Sérgio Mendes - Nica's Dream
[2:01] 20. João Gilberto - O Pato
[2:28] 21. Sérgio Mendes - Outra Vez
[1:23] 22. João Gilberto - Trêvo De 4 Folhas
[2:36] 23. Sérgio Mendes - What Is This Thing Called Love
[1:29] 24. Sérgio Mendes - Diagonal

For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Born in 1931 in Juazeiro in the northeastern state of Brazil known as Bahia, João Gilberto seemed obsessed with music almost from the moment he emerged from the womb. His grandfather bought him his first guitar at age 14 (much to the dismay of João's father). Within a year, the result of near constant practicing, he was the leader of a band made up of school friends. During this time Gilberto was absorbing the rhythmic subtlety of the Brazilian pop songs of the day, while also taking in the rich sounds of swing jazz (Duke Ellington and Tommy Dorsey), as well as the light opera singing of Jeanette MacDonald. At 18, Gilberto gave up on his small town life and headed to Bahia's largest city, Salvador, to get a foothold in the music industry performing on live radio shows.

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Alan Broadbent - 'Round Midnight

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Bop, Piano jazz
Year: 2005
Art: Front

[6:25] 1. Groovin' High
[7:22] 2. Serenata
[7:28] 3. Lament
[6:27] 4. Die Vereinbarung
[7:15] 5. Journey Home
[6:44] 6. I'm Old Fashioned
[8:08] 7. 'round Midnight
[5:51] 8. The Man I Love

Long considered a very valuable pianist, arranger, and conductor behind the scenes, whether accompanying singers (including his classic recordings with Irene Kral) or as part of bands (most notably Charlie Haden's Quartet West), Alan Broadbent tends to be underrated as a pianist/leader. In the Los Angeles area he occasionally performs in clubs where his trio work is quite spontaneous. For 'Round Midnight, he simply gathered together two of his favorite players (bassist Brian Bromberg and drummer Joe LaBarbera), decided on a list of tunes (including two of his originals), and played. Although the results are quite logical, nothing was arranged in advance. It just worked out this perfectly on a moment's notice. Whether swinging on bebop standards, digging into J.J. Johnson's "Lament," or transforming "Serenata" into jazz, everything works well on this easily recommended trio outing. ~Scott Yanow

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Bobby Selvaggio - Grass Roots Movement

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:12
Size: 126,0 MB
Art: Front

( 4:38)  1. No Turn on Red
(10:49)  2. Signature Needed
( 5:33)  3. Dust Bunnies
( 5:50)  4. Chicken Legs
( 5:23)  5. Movement
( 6:18)  6. Return to Sender
( 7:41)  7. Fish Food
( 7:57)  8. Spy Movie

Bobby Selvaggio's Grass Roots Movement, marks his sixth release as leader and second outing for Arabesque Records. This quintet record follows his 2009 disc Modern Times, recorded with veteran pianist Kenny Werner. Here, the saxophonist employs some new names, an electric groove, but no worries, the musicianship retains the highest standards. Here he switches on the power with an electric ensemble, where only drummer James Johnson is unplugged. He might as well be plugged in, however, because he animates the affair throughout. His funky drumming opens the disc with "No Turn On Red," a vehicle for Selvaggio to show off his best Maceo Parker imitation. The saxophonist and guitarist Nir Felder match licks lockstep, here and throughout the recording. On the pecking "Chicken Legs" the two create an intricate barnyard dance, with pianist Frank LoCrasto's knobby Fender Rhodes acting as an exciting feed for the composition. Selvaggio gives plenty of room for Felder to strut his stuff, the guitarist favoring crisp notes and an economical approach. His solo on "Dust Bunnies" turns from gregarious showman to thoughtful improviser. Like Selvaggio, the guitarist has a keen sense of economy of notes, even if the pair is brining the funk. On "Return To Sender" groove is the force driving the quintet. Felder's slippery quick guitar lines coat the road for Selvaggio to bark some honking lines over rear-shaking pulse. Same for "Fish Food" a vehicle for Selvaggio and Johnson to duet before the twisty and intricate song emerges.~ Mark Corroto https://www.allaboutjazz.com/grass-roots-movement-bobby-selvaggio-arabesque-jazz-review-by-mark-corroto.php

Personnel: Bobby Selvaggio: alto saxophone; Nir Felder: electric guitar; Frank LoCrasto: Fender Rhodes; Kip Reed: electric bass; James Johnson: drums.

Grass Roots Movement

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Pete Escovedo - E Street

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 57:15
Size: 131,4 MB
Art: Front

(6:14)  1. Another Star
(6:24)  2. Sambacu
(5:24)  3. Fantasy
(6:16)  4. Boomerang (Instrumental)
(4:57)  5. Smile Please (Instrumental)
(5:05)  6. Like A Volcano (Instrumental)
(4:49)  7. You're My Little Girl
(6:01)  8. La Familia (Instrumental)
(5:13)  9. Waterfall (Instrumental)
(6:47) 10. Lord Remember Me

E Street is an all-star affair led by percussionist Pete Escovedo, the father of drummer/percussionist Sheila E., who also guests on E Street along with several Escovedo siblings, saxophonists John Handy, Gerald Albright and Mel Martin, and pianist/vibraphonist Buddy Montgomery. E Street seems to expend a great deal of energy going in a lot of different directions wide-open freeways of Latin rock, lit up with horns and sparkling with guitar, piano, trumpet and of course percussion solos; rolling, soft cha-cha ballads; and new yet familiar byways with covers of Earth Wind & Fire's "Fantasy" and Stevie Wonder's "Another Star" but it never seems to actually GET anywhere. The only breaks in the placid scenery come from the appropriately titled fiesta jam "Like a Volcano" and the surprisingly stirring, hymn-with-vocals "Lord Remember Me," which closes this set. ~ Chris Slawecki https://www.allmusic.com/album/e-street-mw0000019566

Personnel: Pete Escovedo (vocals, percussion, timbales); Brenda Roy (vocals); Peter Michael Escovedo (vocals, drums, percussion); Juan Escovedo, Sheila Escovedo (vocals, percussion, congas); John Handy (alto saxophone); Gerald Albright, Alex Murzyn (tenor saxophone); Melecio Magdaluyo (saxophone, flute); Mel Martin (bass clarinet); Bill Ortiz, Louis Fasman, John Worley, Mike Galisatus (trumpet); Robbie Kwock (trumpet, flugelhorn); Marty Wehner, Wayne Wallace, Jeff Cressman (trombone); Buddy Montgomery (vibraphone); Renato Neto, Jeff Chimenti, Murray Low (piano); Dave Mathews (piano, synthesizer); Ray Obiedo (synthesizer, guitar); Steve Erquiaga (acoustic guitar); Mark Van Wageningen, Derek Jones (bass); Paul Van Wageningen (drums); Van Waller (percussion); Juanita Escovedo (guiro).

E Street

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Billy Taylor - Billy Taylor with Four Flutes

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 42:12
Size: 97,1 MB
Art: Front

(3:56)  1. The Song Is Ended
(6:49)  2. Back Home
(2:34)  3. St. Thomas
(4:46)  4. Oh Lady, Be Good
(2:58)  5. No Parking
(4:23)  6. Koolbongo
(7:00)  7. Blue Shutters
(4:47)  8. One for the Woofer
(4:55)  9. How About You?

In the 1950s, pianist Billy Taylor was best known for his work with his trios. For this Riverside set (reissued on CD in the OJC series) Taylor tried something different, writing arrangements for four flutists (including Frank Wess, Herbie Mann, and Jerome Richardson), his rhythm section, and the congas of Chino Pozo. 

The flutists get their opportunities to solo, and the music (which includes "The Song Is Ended," "St. Thomas," "Oh Lady Be Good," "How About You," and four of Taylor's originals) is essentially bop, but the unusual instrumentation gives the set its own personality. Enjoyable music that certainly stands out from the crowd. ~ Scott Yanow https://www.allmusic.com/album/billy-taylor-with-four-flutes-mw0000113827

Personnel: Billy Taylor (piano); Jerry Sanfino, Frank Wess, Herbie Mann, Jerome Richardson, Phil Bodner, Seldon Powell, Billy Slapin (flute); Dave Bailey , Albert "Tootie" Heath (drums); Chano Pozo ( Luciano "Chano" Pozo Gonzales) (congas).

Billy Taylor with Four Flutes

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Dan Siegel - Going Home

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 41:04
Size: 95,7 MB
Art: Front

(3:53)  1. Dee-Ah
(4:23)  2. Going Home
(3:32)  3. Next To You
(4:41)  4. Dark Rain
(4:53)  5. Don't Let Go
(4:04)  6. The Untraveled Path
(2:50)  7. Can't Remember
(4:36)  8. Sojourn
(4:20)  9. Searching
(3:48) 10. The Last Dance

Smooth jazz keyboardist Dan Siegel has been helping to shape the genre since his recording debut in 1980. Born in Seattle and raised in Eugene, OR, Siegel started taking piano lessons at age eight and was fronting a rock band at 12. After attending the Berklee College of Music in Boston, he received a degree in composition from the University of Oregon and began recording his own works. Soon thereafter, well-known independent jazz label Inner City Records signed the young keyboardist, releasing 1980's Nite Ride, which featured guitarist Lee Ritenour. Siegel's second album for Inner City, 1981's The Hot Spot, was more successful and spent ten weeks in the Top Ten of Billboard's jazz chart. In 1983, he moved to Los Angeles to pursue film and television work, as well as a more active recording career. Spending half of the decade composing TV and film scores as well as releasing several albums of varying interest, he signed with Epic in 1986 and began moving away from the ailing jazz fusion scene and into the adult contemporary jazz sound that he had been toying with all along. Highlights of this era include 1994's worldbeat-influenced Hemispheres and the urban-flavored Clairvoyance, released in 1998. Siegel spent the 1990s recording for a variety of labels, working with some of the bigger names in smooth jazz (Boney James, Larry Carlton, John Patitucci), and leading the hard bop combo Birds of a Feather. In 2000, Legacy Recordings released a greatest hits compilation called Along the Way: The Best of Dan Siegel. ~ Zac Johnson https://www.allmusic.com/artist/dan-siegel-mn0000566054/biography 

Kenny Rankin (Vocals); Michael Landau, Allen Hinds, Richard Smith, Grant Geissman (Guitar); Ernie Watts, Jeff Kashiwa, Everette Harp, Gary Herbig, Mark Hollingsworth (Saxophone); Abraham Laboriel, Jimmy Johnson, Ed Alton, Neil Stubenhaus, Dwayne Smith, Alec Milstein (Bass); Vinny Colaiuta, Bobby Colomby, Moyes Lucas Jr., Randy Drake, Dave Miller (Drums);  Luis Conte, Alex Acuña (Percussion); Dan Siegel (Keyboards, Vocals).

Going Home

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Kenny Werner - Copenhagen Calypso

Bitrate: MP3@320K/s
Time: 57:36
Size: 131.9 MB
Styles: Bop, Piano jazz
Year: 1994
Art: Front

[ 4:24] 1. If I Should Lose You
[ 8:39] 2. Ballad For Trane
[ 4:56] 3. My Romance
[ 6:24] 4. Copenhagen Calypso
[ 2:10] 5. What Is This Thing Called Love
[10:37] 6. Naima
[ 6:37] 7. Watch What Happens
[ 9:46] 8. Round About Midnight
[ 3:59] 9. Yesterdays

One of two stunning CDs of solo piano recorded by Kenny Werner for Steeplechase -- upon hearing it one wonders why this brilliant pianist isn't more widely known. His takes of great standards such as "If I Should Lose You" and "My Romance" are very refreshing and strikingly original. His masterpiece is a breathtaking reworking of "Yesterdays," although the phenomenal rendition of "What Is This Thing Called Love?" and the reflective, imaginative take of "Naima" are equally impressive. For anyone not familiar with Kenny Werner, this CD should serve as a great introduction. ~Ken Dryden

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Melanie De Biasio - Lilies

Bitrate: MP3@320K/s
Time: 38:13
Size: 87.5 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:48] 1. Your Freedom Is The End Of Me
[3:16] 2. Gold Junkies
[3:57] 3. Lilies
[4:04] 4. Let Me Love You
[2:46] 5. Sitting In The Stairwell
[3:08] 6. Brother
[4:31] 7. Afro Blue
[6:41] 8. All My Worlds
[5:58] 9. And My Heart Goes On

Melanie De Biasio is a Belgian vocalist who mixes jazz, blues, and soul.

As Melanie De Biasio explains in her own words; “For me, Lilies has a darkness, but it’s also luminous. After my experiences with (previous releases) 'No Deal' and 'Blackened Cities', I just wanted to retreat to a cave with my Pro-Tools, my computer, and my cheap, 100Euro Shure SM-58 microphone. I could have gone to a big studio, made a big production – but I wanted none of that. I wanted to go back to the seed of creativity, the simplest materials. I was in this room where there was no light, no night or day at all, no heat. Very uncomfortable. But I felt free. I was happy to have this feeling – ‘I don’t need more, I have everything I need here.’”

Lilies resonates with beauty, multi-instrumentalist De Biasio casting a mesmerising shadow over the proceedings alongside her long-term ensemble of players and will undoubtedly once again see her further the acclaim of fans both in Europe and further afield.

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Andre Previn - Tangerine

Bitrate: MP3@320K/s
Time: 71:31
Size: 163.7 MB
Styles: Piano jazz
Year: 2018
Art: Front

[4:24] 1. Tangerine
[6:06] 2. I Cover The Waterfront
[7:52] 3. Squatty Roo
[7:53] 4. Collard Greens And Black Eyed Peas
[5:17] 5. The Girl Friend
[4:41] 6. Stars Fell On Alabama
[4:09] 7. Get Me To The Church On Time
[5:32] 8. On The Street Where I Live
[3:23] 9. I've Grown Accustomed To Her Face
[5:28] 10. Wouldn't It Be Loverley
[4:13] 11. Ascot Gavotte
[3:35] 12. Show Me
[5:55] 13. With A Little Bit Of Luck
[2:57] 14. I Could Have Danced All Night

Bass – Leroy Vinnegar; Drums – Shelly Manne; Piano – André Previn.

One of the most versatile musicians on the planet, André Previn has amassed considerable credentials as a jazz pianist, despite carving out separate lives first as a Hollywood arranger and composer, and then as a world-class classical conductor, pianist, and composer. Always fluid, melodic, and swinging, with elements of Bud Powell, Oscar Peterson, and Horace Silver mixed with a faultless technique, Previn didn't change much over the decades but could always be counted upon for polished, reliable performances at the drop of a hat.

He started piano lessons in his native Berlin before the Nazi threat forced his family to move to Paris in 1938 and the U.S. the following year. Settling in Los Angeles, the wunderkind Previn began working as a jazz pianist, an arranger for MGM, and a recording artist for Sunset Records while still in high school -- and by his 18th year, his first recordings for RCA Victor had racked up substantial sales. Originally swing-oriented, Previn discovered bop in 1950 just before his induction into the Army. Upon returning to Los Angeles, Previn went into overdrive, gigging as a jazz pianist, scoring films, and playing chamber music. Forming a smooth boppish trio with Shelly Manne and Leroy Vinnegar, Previn scored a huge crossover hit with an album of jazz interpretations of My Fair Lady, which in turn led to a series of likeminded albums of Broadway scores and kicked off an industry trend.

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The Shirelles - 20 Greatest Hits

Bitrate: MP3@320K/s
Time: 47:44
Size: 109.3 MB
Styles: Pop-Rock-R&B
Year: 2005
Art: Front

[2:39] 1. Will You Love Me Tomorrow
[2:31] 2. Welcome Home Baby
[2:06] 3. Mama Said
[2:39] 4. Baby It's You
[2:19] 5. Big John (Ain't You Gonna Marry Me)
[2:39] 6. Soldier Boy
[2:36] 7. A Thing Of The Past
[2:02] 8. Dedicated To The One I Love
[2:33] 9. Don't Say Goodnight And Mean Goodbye
[2:08] 10. Stop The Music
[2:33] 11. Thank You Baby
[2:57] 12. A Last Minute Miracle
[2:00] 13. Tonight You're Gonna Fall In Love With Me
[2:13] 14. Sha La La
[2:13] 15. Foolish Little Girl
[1:52] 16. Tonight's The Night
[2:27] 17. What A Sweet Thing That Was
[2:40] 18. Everybody Loves A Lover
[2:31] 19. What Does A Girl Do
[1:58] 20. Thirty-One Flavors

You'd be hard-pressed to find a dud track on this Shirelles best-of, which contains irresistible (and influential) early-1960s songs like "Will You Still Love Me Tomorrow," "Mama Said," and "Soldier Boy." One of the first girl groups of the '60s, their songs were covered by the Beatles ("Baby, It's You") and the Mamas & The Papas ("Dedicated to the One I Love"), among many others. Their vintage sound, with its simple, yet highly effective vocal arrangements, is unmistakable, with tracks like "Tonight You're Gonna Fall in Love With Me" and "Don't Say Goodnight and Mean Goodbye" possessing an attractive, guileless innocence. ~AMG

20 Greatest Hits

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Bill Charlap - All Through The Night

Bitrate: MP3@320K/s
Time: 47:13
Size: 108.1 MB
Styles: Straight ahead jazz, Piano jazz
Year: 1998
Art: Front

[8:53] 1. All Through The Night
[5:22] 2. Roundabout
[4:30] 3. Put On A Happy Face
[5:14] 4. It's So Peaceful In The Country
[4:11] 5. The Best Thing For You Would Be Me
[3:15] 6. Pure Imagination
[3:53] 7. Nobody's Heart
[6:24] 8. Dance Only With Me-Dream Dancing
[5:28] 9. I've Just Seen Her

This trio outing by pianist Bill Charlap (with bassist Peter Washington and drummer Kenny Washington) is a superior modern mainstream set. Charlap's boppish yet melodic style (which is championed by George Shearing in the liner notes) is pleasing, swinging and just unpredictable enough to hold one's interest. He mostly performs lesser-known standards such as Vernon Duke's "Roundabout," Irving Berlin's "The Best Thing For You Would Be Me" and the Rodgers and Hart classic "Nobody's Heart." An enjoyable outing. ~Scott Yanow

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Matt Monro - Essential

Bitrate: MP3@320K/s
Time: 56:38
Size: 129.7 MB
Styles: Vocal, Easy Listening
Year: 1990/2006
Art: Front

[2:53] 1. My Kind Of Girl
[2:46] 2. Portrait Of My Love
[2:32] 3. From Russia With Love
[2:57] 4. Who Can I Turn To
[2:31] 5. Let's Face The Music And Dance
[3:17] 6. Jeannie
[2:33] 7. April Fool
[2:09] 8. Cheek To Cheek
[3:21] 9. Softly As I Leave You (Mono) [single Version]
[2:00] 10. Here And Now
[2:46] 11. Love Is A Many Splendored Thing
[2:12] 12. How Little We Know
[2:20] 13. Stardust
[3:37] 14. Small Fry
[3:17] 15. Skylark
[3:02] 16. One Morning In May
[3:57] 17. I Get Along Without You Very Well (Except Sometimes)
[2:59] 18. Memphis In June
[2:27] 19. Blue Orchids
[2:52] 20. I Have Dreamed

He was the "British Sinatra" and sings with beautiful phrasing on these recordings from the early '60s. This is Monro at his most Sinatra/Riddle-like. Several of the tracks are from his Hoagy Carmichael album and his renditions of "Skylark," "Blue Orchids," and "Stardust" are masterful ballad treatments. His "One Morning In May" and "Small Fry" swing with Basie-like big-band arrangements behind him (note especially the hip and attentive drumming on these swing charts).

His breath control is one of the most extraordinary in all of popular singing; there is at least one phrase in each ballad performance that is nearly impossible to speak, let alone sing, in one breath. But there's subtle swing phrasing with great breath control too -- notice the second time he sings the bridge on "Let's Face the Music and Dance" after he sings a 4-bar lead-in and then the ENTIRE bridge on one breath. Literally breathtaking singing, and mature phrasing that does not call attention to the technical prowess (very much like Sinatra). "My Kind of Girl" was Monro's swing masterpiece, a record so fine that even Sinatra had to record it -- the ultimate tribute. ~Peter Sokolowski

Essential mc
Essential zippy

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Deborah Cox - One Wish

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 62:29
Size: 143,9 MB
Art: Front

(4:46)  1. September
(4:19)  2. It's Over Now
(4:22)  3. Nobody's Supposed To Be Here
(4:41)  4. We Can't Be Friends (Feat. RL)
(4:32)  5. Couldn't We
(4:35)  6. One Wish (feat. DJ Quik)
(4:32)  7. I Won't Give Up
(3:56)  8. Just When I Think I'm Over You
(4:43)  9. Love Is On The Way
(5:06) 10. I Never Knew
(4:13) 11. One Day You Will
(4:14) 12. Nobody's Supposed To Be Here (Dance Mix)
(4:12) 13. Things Just Ain't The Same (Dance Mix)
(4:12) 14. September (Remix)

Arista set out to make a huge star of Deborah Cox. Her first album scored a couple of moderate hits, but with her second they were poised to turn the burgeoning belter into a new Whitney Houston. That didn't quite happen, but the set did make her into a considerable star, thanks in part to her monster cross-format smash "Nobody's Supposed to Be Here." An interesting thing happened the year before this album's release. Cox recorded a song for the Money Talks soundtrack, "Things Just Ain't the Same." The song was not a big hit initially, but a dance mix picked up steam in clubs across the U.S., and after several months turned into a huge dance smash, which in turn opened the singer to a whole new audience almost unexpectedly. Therefore, the first official single from One Wish, "Nobody's Supposed to Be Here," was released as an R&B ballad to urban radio stations, and as a revved-up club anthem to pop stations and club DJs. The song was a smash, spending countless weeks atop the R&B charts and eight weeks at number two on the U.S. pop charts, cementing the singer's newfound broad appeal. That feat wasn't repeated, although the album scored another Top Ten pop hit with dramatic ballad "We Can't Be Friends," a duet with labelmate R.L. of the group Next. The album's musical spectrum was varied, ranging from the typical cheating man song popular at the time (the second single, "It's Over Now," which, in a remixed version, topped the dance charts), to safe middle-of-the-road, adult contemporary fare ("Couldn't We" and the beautiful "One Day You Will"), funky R&B tunes (one of the set's highlights, "One Wish"), and club anthems, including the dance mix of "Things Just Ain't the Same." Cox's voice, a powerhouse unto itself, sounds just as effective and very sweet when she's not belting out a tune Whitney Houston-style (evident on "I Won't Give Up"). The album also includes a bonus track, which is a hip-hop mix of the set's mid-tempo opener "September." A good album, which includes a couple of quintessential 1990s dance hits, and a prime example of Arista's incomparable marketing savvy. ~Jose F.Promis   https://www.allmusic.com/album/one-wish-mw0000041586              

One Wish

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Vanessa Rubin - Language of Love

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 57:30
Size: 133,6 MB
Art: Front

(4:36)  1. Love for Sale
(4:55)  2. I Didn't Know About You
(4:27)  3. The Way He Makes Me Feel
(4:45)  4. Caravan
(4:00)  5. Fantastic Episode
(4:31)  6. Nice'n Easy
(6:11)  7. Early Autumn
(5:14)  8. I Should Lose You
(3:53)  9. Every Time We Say Goodbye
(8:12) 10. Corcovado
(6:45) 11. The Summer Knows

Vanessa Rubin's 1999 album Language of Love features more of her smooth vocal stylings, along with guest performances from Freddy Cole on two tracks, "Nice 'N' Easy" and "Everytime We Say Goodbye." Other standout tracks include "Early Autumn" and "The Summer Knows." ~ Heather Phares https://www.allmusic.com/album/language-of-love-mw0000667213

Language of Love

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Billy Taylor - It's A Matter Of Pride

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 64:11
Size: 148,5 MB
Art: Front

(5:56)  1. At La Caroussel
(4:50)  2. Picture This
(5:13)  3. It's A Matter Of Pride
(6:07)  4. His Name Was Martin
(5:04)  5. Titoro
(8:45)  6. Back Home
(6:05)  7. Lookin' Up
(7:30)  8. Paraphrase
(4:48)  9. I'm A Lover
(5:54) 10. If You Really Are Concerned
(3:55) 11. Mood For Mendes

This is a particularly well-constructed session by pianist Billy Taylor who is featured in a combo with bassist Christian McBride, drummer Marvin "Smitty" Smith, the congas of Ray Mantilla and, on three songs, tenor-saxophonist Stanley Turrentine; Grady Tate also contributes two warm ballad vocals. All nine songs were composed by Taylor (including three pieces taken from a more extended work in tribute to Martin Luther King) and the results are melodic, boppish and swinging.~ Scott Yanow https://www.allmusic.com/album/its-a-matter-of-pride-mw0000110539   

Personnel: Billy Taylor (piano), Grady Tate (vocals), Stanley Turrentine (tenor saxophone), Christian McBride (bass), Marvin "Smitty" Smith (drums), Ray Mantilla (congas)

It's A Matter Of Pride

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Philip Catherine, Neils-Henning Orsted-Pedersen - Spanish Nights

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 55:47
Size: 128,0 MB
Art: Front

(3:49)  1. Spanish Nights
(5:10)  2. Aranjuez
(6:27)  3. Django
(5:37)  4. My Favorite Things
(6:58)  5. Leaving
(4:59)  6. Esmeralda
(4:12)  7. Armando's Rhumba
(5:55)  8. Black Orpheus
(3:31)  9. Little Anna
(4:11) 10. Que Pasa
(4:52) 11. Rene Thomas

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. 

Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others.  During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. ~ Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography             

Philip Catherine (guitar);  Niels-Henning Ørsted Pedersen (bass);  The Royal Copenhagen Chamber Orchestra (orchestra);  Ernie Wilkins (arranger);  Kenny Drew (arranger); Ole Kock Hansen (arranger).

Spanish Nights

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