Bob Mintzer Big Band & New York Voices - Meeting Of Minds

Size: 140,8 MB
Time: 60:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Autumn Leaves (Live) (6:44)
02. I Concentrate On You (Live) (5:21)
03. I Want To Be Happy (Live) (6:31)
04. I Get Along Without You Very Well (Live) (4:31)
05. The Way You Look Tonight (Live) (6:23)
06. You Go To My Head (Live) (7:17)
07. Old Devil Moon (Live) (5:22)
08. Weird Blues (Live) (5:56)
09. Speak Low (Live) (6:55)
10. I'll Remember April (Live) (5:28)

Meeting Of Minds plays more like a merger than an encounter. And that, after all, is how all successful collaborations should feel. Hearing Bob Mintzer's big band and New York Voices join forces for a trip through newly-arranged takes on '30s and '40s gems from the Great American Songbook is a reminder that some music can ring timeless and appear pliant all at once when placed in the right hands.

New York Voices has paired up with other large ensembles in the past—the Count Basie Orchestra and the WDR Big Band, to cite two—but this marks the group's first on-record meeting with Mintzer's airtight outfit. And with a shared appreciation for precision swing, expansive and expanded harmonies, and Latin settings, it turns out to be a perfect fit.

The integration of Darmon Meader's vocal writing with Minzter's big band charts is seamless, with one set of hands enhancing the work of the other. In knowing both what to add and, of equal importance, what to leave out, both men prove sympathetic in their contributions. The album opens with a Latin-swing hybrid arrangement of "Autumn Leaves" that finds the band working like a well-oiled machine and the voices in perfect sync. Kim Nazarian and Lauren Kinhan light the way, pianist Phil Markowitz makes the first of his many marks, and alto saxophonist Bob Sheppard steps into the spotlight. A jaunty and warm "I Concentrate On You" with a Peter Eldridge vocal lead and an instrumental take on "I Want To Be Happy" with a smoking trumpet solo from Scott Wendholt follow and help to instantly diversify this portfolio.

With shifting stylistic ground, more than half of the band personnel soloing at one time or another, and each of the vocalists taking center stage at various times, there's never a problem with variety here. What's remarkable, in fact, is how it all ties together into a unified sound. A gorgeously heart-wrenching "I Get Along Without You Very Well" with an Eldridge lead, a slowly funky "Old Devil Moon" with an attractively smoldering Kinhan out front, and a one-off trip to original territory with Mintzer's swinging "Weird Blues" (sans vocals) all feel right at home with each other. The marriage of the Bob Mintzer Big Band and New York Voices is simply a match made in heavenly harmony. ~Dan Bilawsky

Personnel: Kim Nazarian: vocals; Lauren Kinhan: vocals; Darmon Meader: vocals; Peter Eldridge: vocals; Bob Mintzer: tenor saxophone, flute; Bob Shappard: alto saxophone, flute; Lawrence Feldman: alto saxophone: flute; Bob Malach: tenor saxophone; Roger Rosenberg: baritone saxophone, clarinet; Bob Millikan: trumpet; Frank Greene: trumpet; Scott Wendhot: trumpet; James Moore: trumpet; Keith O'Quinn: trombone; Jef Bush: trombone; Jay Ashby: trombone, percussion; David Taylor: bass trombone; Phil Markowitz: piano; Marty Ashby: guitar; Jay Anderson: bass; John Riley: drums.

Meeting Of Minds

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Willie Mitchell - The Many Moods Of Willie Mitchell

Bitrate: MP3@320K/s
Time: 32:27
Size: 74.3 MB
Styles: Funk, Soul
Year: 1969/2014
Art: Front

[3:05] 1. Breaking Point
[3:41] 2. Sometimes I Wonder
[3:42] 3. Black Fox
[3:14] 4. Roadhouse
[3:53] 5. Sack-O-Woe
[2:22] 6. Too Sweet
[2:36] 7. White Silver Sands
[3:00] 8. Midnight Sun
[3:18] 9. Cuddlin' Up
[3:31] 10. Something Nice

The 1970 follow-up to Soul Bag was for the most part a further step away from where Willie Mitchell had been for the past decade. The sound on Many Moods is darker, funkier, greasier, and grittier. It's almost sloppy, which gives the record an immediacy virtually nothing he recorded before or since could claim. From the slippery late-night feel of "Breaking Point," with its gorgeous guitar and organ harmonics, to the endgame of "Something Nice," which is far more sexy than nice with its intricately structured horn and guitar lines weaving in and out of one another, the effect was the same: intoxicating groove science. Other standouts include "Sack-O-Woe," "Roadhouse," and "Black Fox." On these tracks what is central is the stretching of time and space through the backbeat, letting it fall just ahead or behind the rest of the band, as horn lines, Booker T.'s organ, and Steve Cropper's guitar took their places laying out the groove and punching it up with fills and flourishes. There are two quizzical places on this album that makes one wonder if the tracks were brought in from an earlier session just to fill out side two: "White Silver Sands" and "Midnight Sun" are both drenched in that sweet, shimmering sheen that most of Mitchell's earlier records had, marring what would have been a perfect release. But it's of little consequence, since what is strong here -- the vast majority of the album -- is a revelation. ~Thom Jurek

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Glenn Zottola - Classic Standards With Strings

Bitrate: MP3@320K/s
Time: 40:28
Size: 92.6 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[3:44] 1. Can't Help Lovin' Dat Man Of Mine
[3:28] 2. Laura
[3:28] 3. What's New
[3:32] 4. Memories Of You
[3:25] 5. Willow Weep For Me
[3:01] 6. Embraceable You
[3:15] 7. Blue Moon
[3:23] 8. Where Or When
[3:00] 9. Yesterdays
[3:29] 10. Portrait Of Jenny
[3:12] 11. Smoke Gets In Your Eyes
[3:23] 12. Stardust

Jazz Legends Coleman Hawkins, Lester Young and Ben Webster are rightfully considered the Swing Era’s Pantheon of the tenor saxophone. It is from that glorious rock-solid foundation of the jazz tree that yet-to-come tenor greats such as Stan Getz, John Coltrane and others blossomed. The influence of the tenor triumvirate on those who followed them was enormous – Hawkins improvisational genius exemplified in the still-examined “Body and Soul,” Young’s suave and silky-smooth cool melodic and improvisational approach and Webster’s sensually breathy balladic and hard-swinging up-tempo interpretations.

With “Classic Standards with Strings – Inspired by Ben Webster,” multi-instrumentalist Glenn Zottola, yet again musically validates his worldwide reputation as both an insightful and highly expressive musical artist. Here he grabs his tenor and brilliantly delivers a dozen of the Great American Songbook’s most melodic and romantic jewels. The result is an aural masterpiece of tone, melodic passion, and lyric sensitivity. Webster was a large man who was nicknamed “Brute.” However, his breathy entrances and tonal sensitivities belied the moniker. Zottola, who shrewdly doesn’t mime Webster’s sound or articulation here and who certainly isn’t brutish in any way – musically or otherwise – renders all of the smoothness and sensitivity that both the esteemed material and his mentor deserve. Working exclusively with the greatest of balladic material (“Can’t Help Lovin’ Dat Man,” “Laura,” “Embraceable You”) and backed by a lush string orchestra and superior arrangements, the recording is reminiscent of the great Jackie Gleason sides – you know, when music was about elegance, romance and class.
Zottola, first and foremost a melody man, takes this classic material and literally breathes interpretive life into it. His reserved dynamic feel and vocal-tinged vibrato are a case study in lyricism and stellar ballad playing (“Where or When?” “Yesterdays,” and “Stardust”). When he covers the melody, Zottola gives the marvelous illusion of singing via his horn. And, his well-thought out improvisations all gravitate from a melodic core. The entire effort is a rapturous dream.

Ben Webster is still revered worldwide and especially in Denmark where there is a street named after him (as well as a foundation that awards scholarships to young jazzers). However, I’m dead-certain that when the Danes get a hold of this effort from Glenn Zottola, they might consider getting a second street sign ready for another superb tenor man. ~Nick Mondello

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Janet Planet - Of Thee I Sing

Bitrate: MP3@320K/s
Time: 49:53
Size: 114.2 MB
Styles: Vocal
Year: 2009
Art: Front

[3:08] 1. Rhode Island Is Famous For You
[3:48] 2. Manhattan
[5:18] 3. Old Cape Cod
[3:36] 4. Moonlight In Vermont
[3:46] 5. Love On A Greyhound Bus
[3:44] 6. Way Down Yonder In New Orleans
[3:51] 7. My Kind Of Town (Chicago Is)
[1:58] 8. Gary, Indiana
[4:08] 9. Song Of Wyoming
[2:40] 10. Chattanooga Choo Choo
[3:32] 11. Home On The Range
[2:10] 12. Deep In The Heart Of Texas
[3:42] 13. (Get Your Kicks On) Route 66
[4:24] 14. San Francisco (Be Sure To Wear Flowers In Your Hair)

Forget that the title evokes Kate Smith and the contents include some of the potentially hokiest songs ever written – whether you’re vacationing or staycationing this summer, pack this new recording into your iPod. If any of Janet’s work is going to get major airplay, Of Thee I Sing is it. The basic concept is a winner–14 mostly familiar tunes chosen specifically to celebrate our country, our communities, and the people who live there. But what makes this recording outstanding–in addition to Janet’s customary excellence and the solid musicianship throughout–is the good old American ingenuity of arrangers John Harmon, Tom Washatka, and Tom Theabo, who convert potentially somnolent tunes like “Home on the Range,” “Chattanooga Choo-Choo,” “Gary, Indiana,” and “Old Cape Cod” into high-octane jazz, fueling a very hip trip.

On the jazzical journey, which runs roughly east to west, you’ll make musical stops–some expected, some not–in Rhode Island, Manhattan, Cape Cod, New Orleans, Chicago, Gary, Wyoming, Chattanooga, Texas, and San Francisco. You’ll also fall in love on a Greyhound bus, somewhere along Route 66. Aside from the pitch-perfect Janet, your traveling companions include Harmon on piano, Washatka on sax, Theabo on guitar, John Gibson on bass and Danny Leuck on drums. With drivers this skillful, you can just sit back and enjoy the ride. ~TriTone Jazz

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The Kansas Smitty's House Band - Kansas Smitty's House Band Live

Bitrate: MP3@320K/s
Time: 39:10
Size: 89.7 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[4:28] 1. Whiskey Rag
[5:01] 2. Anita
[5:57] 3. This Is Goodbye
[5:17] 4. Here's To Huw
[4:26] 5. Messin' Around No More
[3:12] 6. She's Got Soul
[5:13] 7. North Henry Street
[5:30] 8. Goodnight My Friends

Kansas Smitty’s House Band are back with a second album of original swing music. The disc was recorded live in the heart of London’s Soho and captures the “cult swing band” in full flight. Infamous as the band who are also proprietors of their own bar, this album gives the listener the electric experience of seeing Kansas Smitty’s live, to go.

Performing brand new music composed especially for this headline club show, the tunes are fresh from hours of writing and rehearsals at their East London HQ. Though you wouldn’t know it, the band’s razor sharp delivery is completely without written music which is a high stakes game when recording live. It’s in this space the House Band thrives, striving to craft the sound that they collectively hear and deliver the music with their trademark joy, energy and precision. The eight original tunes selected from the Band’s live show were composed specifically for this performance and had never before been heard in public. The blend of styles covered across the set illustrates how the House Band’s style is evolving. Building upon their reputation as exponents of the swing beat, their music is now transforming into a sound of its own.

While their roots in ‘the tradition’ are proudly on display, a year on from their debut release the band are carving out a niche on the modern genre-bending jazz scene. Tracks like the groovy ‘Whisky Rag’ and Fats Domino-tinged ‘She’s Got Soul’ echo traditional rag forms with a hefty dose of New Orleans street beat. Pianist Joe Webb’s ‘Here’s to Huw’ features a soul theme that segues into a jukebox-worthy boogaloo. The two ballads on the record, the melancholic ‘This Is Goodbye’ and the gospel-tinged ‘Goodnight, My friends’ feature the tender vocals of “Sweet” Pete Horsfall, with special guest bluesman Marcus Bonfanti’s delta-drenched guitar and vocals providing joyful relief with his own composition ‘Messin’ Around No More’.

This live record is a snapshot of an ensemble that is constantly pushing forward. This album was recorded live and mixed by Alex Killpartrick and mastered by Lewis Durham (of Kitty, Daisy, and Lewis) on February 22nd, 2016.

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Nigel Kennedy - Kennedy Meets Gershwin

Bitrate: MP3@320K/s
Time: 62:39
Size: 143.4 MB
Styles: Classical crossover
Year: 2018
Art: Front

[ 2:33] 1. Rhapsody In Claret & Blue
[ 4:37] 2. Our Love Is Here To Stay
[ 8:14] 3. The Man I Love
[ 5:46] 4. Summertime
[ 3:13] 5. Time
[ 8:29] 6. Porgy & Bess
[ 5:48] 7. How Long Has This Been Going On
[10:06] 8. Fantasy
[ 6:40] 9. They Can't Take That Away From Me
[ 7:08] 10. Oh, Lady Be Good!

Nigel Kennedy (violin, viola, piano, Hammond, harpsichord); Howard Alden & Rolf “die Kobra” Bussalb (guitars)Beata Urbanek-Kalinowska (cello)Tomasz “Insomnia” Kupiec (bass); Members of the Orchestra of Life:Alicja Smietana & Sonja Schebeck (violins)David Heath (flutes).

Classical superstar Nigel Kennedy returns with a critically acclaimed programme of the music of George Gershwin, hailed by The Guardianas “rip-roaring and exquisitely tender”, spirited and playful gypsy jazz arrangements inspired by his friendship with the legendary violinist, Stéphane Grappelli, reminiscent of jamming together as a teenager during his time at the Menuhin School

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Kenny Dorham - The Art Of The Ballad

Bitrate: MP3@320K/s
Time: 69:30
Size: 159.1 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front

[4:51] 1. Darn That Dream (Take 2)
[3:02] 2. Ruby, My Dear (Take 1)
[5:14] 3. Old Folks
[7:40] 4. It Might As Well Be Spring
[9:09] 5. Falling In Love With Love
[4:21] 6. I'll Be Seeing You
[5:06] 7. My Ideal
[5:22] 8. My Old Flame
[6:51] 9. What's New
[5:03] 10. I Should Care
[6:49] 11. Passion Flower
[5:59] 12. So In Love

Though the least celebrated of the artists featured in Fantasy's initial The Art of the Ballad offering, Kenny Dorham is by no means the most negligible, as this selection of ballads, augmented by some of the leading names in jazz demonstrates. However, with only six Dorham albums on Riverside, Debut and New Jazz to choose from, Fantasy had to turn elsewhere to fill out the CD, to sessions led by Ernie Henry, Oliver Nelson and Harold Land. Indeed, even on Dorham's own recordings, he doesn't always dominate -- the most telling example being Cannonball Adderley's ardent solos that light up "It Might as Well Be Spring" and steal the show. Elsewhere, the listener will hear a number of Dorham's sounds -- the big open sound of "Darn That Dream," the veiled, toned, fleetfingered hard bop Dorham of "Falling in Love with Love," the sweet muted work on Nelson's "Passion Flower," and various combinations of tone and articulation. No rarities; everything is available elsewhere on silver discs. ~Richard S. Ginnell

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Benny Carter - Songbook

Styles: Vocal, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 77:37
Size: 179,4 MB
Art: Front

(5:30)  1. Only Trust Your Heart (Feat. Dianne Reeves)
(4:55)  2. All That Jazz (Feat. Carmen Bradford & Kenny Rankin)
(4:23)  3. I Was Wrong (Feat. Joe Williams)
(4:59)  4. Rain (Feat. Marlena Shaw)
(5:34)  5. Cow-Cow Boogie (Feat. Jon Hendricks)
(5:36)  6. Fresh Out Of Love (Feat. Diana Krall)
(4:57)  7. Speak Now (Feat. Billy Stritch)
(5:27)  8. A Kiss From You (Feat. Shirley Horn)
(4:17)  9. You Bring Out The Best In Me (Feat. Bobby Short)
(5:45) 10. My Kind Of Trouble Is You (Feat. Ruth Brown)
(4:06) 11. When Lights Are Low (Feat. Weslia Whitfield)
(6:35) 12. Lonely Woman (Feat. Nancy Marano)
(4:33) 13. Key Largo (Feat. Carmen Bradford)
(6:03) 14. We Were In Love (Feat. Dianne Reeves & Joe Williams)
(4:48) 15. I See You (Feat. Peggy Lee)

Due to his being such a talented altoist, arranger and occasional trumpeter for seven decades, it is often forgotten that Benny Carter wrote some worthy songs along the way. "When Lights Are Low" and "Blues in My Heart" are standards while "Only Trust Your Heart," "Key Largo" and the novelty hit "Cow-Cow Boogie" are close. For this unusual set, 14 different singers had opportunities to interpret one or two Carter compositions while joined by a fine quintet consisting of cornetist Warren Vache, pianist Chris Neville, bassist Steve LaSpina, drummer Sherman Ferguson and Carter himself (88 at the time!) on alto. The ambitious program includes five Carter songs that were receiving their world premiere; in addition Carter also wrote or co-wrote the lyrics to nine of the pieces. The singers all show respect for the melody and words with Jon Hendricks being playful on "Cow-Cow Boogie," Joe Williams quite touching on "I Was Wrong" and a weakened Peggy Lee making a memorable cameo on "I See You." The vocalists consistently seem quite inspired by the unique project. There are many short Carter and Warren Vache solos and, even with the emphasis on ballads, there is more variety than one might expect. The well-conceived tribute (which also has fine appearances by Dianne Reeves, Carmen Bradford, Kenny Rankin, Marlena Shaw, Diana Krall, Billy Stritch, Shirley Horn, Bobby Short, Ruth Brown, Weslia Whitfield and Nancy Marano). ~ Scott Yanow https://www.allmusic.com/album/songbook-mw0000180497

Personnel:  Benny Carter - alto saxophone;  Warren Vache - cornet;  Chris Neville, Gene DiNovi (#15) - piano;  Steve LaSpina, John Heard (#15) - bass;  Sherman Ferguson, Roy McCurdy (#2,6,13) - drums

Thank You Dave!

Songbook

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Renée Geyer - Dedicated

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:56
Size: 107,8 MB
Art: Front

(4:41)  1. Why Can't We Live Together
(4:13)  2. I Wish It Would Rain
(3:50)  3. Please Leave Your Light On
(4:10)  4. Somebody's On Your Case
(4:02)  5. Dedicated To The One I Love
(4:35)  6. When A Woman Loves A Man
(3:38)  7. Steal Away
(3:10)  8. A Beautiful Morning
(3:51)  9. So I Can Love You
(4:02) 10. Distant Lover
(6:39) 11. It's A Man's Man's Man's World

Renee Geyer,one of the world's finest singers.australian music legend.it's true and undeniable, but saying that about her doesn't say enough. Inducted into the aria hall of fame, she's much more now than she ever was. 'dedicated' is Renee Geyer  22nd album, and she's convinced with this record she's reached a turning point. ~ Editorial Reviews https://www.amazon.com/Dedicated-Renee-Geyer/dp/B000VXVWRQ

Dedicated

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Jonathan Kreisberg & Nelson Veras - Kreisberg Meets Veras

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 53:17
Size: 122,5 MB
Art: Front

(6:44)  1. Lina Rising
(7:35)  2. Until You Know
(4:57)  3. Every Person Is a Story
(6:35)  4. Bye-Ya
(4:20)  5. Milagre Dos Peixes
(7:06)  6. Goodbye Pork Pie Hat
(8:17)  7. Windows
(7:40)  8. Face on the Barroom Floor

The greatest collaborations are often built upon two unique and different personalities combining to create something beyond their individual realms. Thus is the case with the new 'Kreisberg Meets Veras' project, which promises to be one of the most exciting guitar duos in the jazz and guitar worlds. Jonathan Kreisberg and Nelson Veras are both highly acclaimed artists on their instruments, and they have combined forces to create a program of original works and rarely played classics which welcome the listener to experience the start of a beautiful musical friendship.~ Editorial Reviews https://www.amazon.com/Kreisberg-Meets-Veras-Jonathan-Nelson/dp/B07BC2X59H

Kreisberg Meets Veras

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Larry Goldings, Peter Bernstein, Bill Stewart - Toy Tunes

Styles: Piano, Post Bop
Year: 2018
File: MP3@320K/s
Time: 47:27
Size: 109,4 MB
Art: Front

(6:45)  1. Fagen
(6:10)  2. Don't Ever Call Me Again
(6:30)  3. Lullaby For B
(5:17)  4. I'm In The Mood For Love
(3:51)  5. And Now The Queen
(7:01)  6. Toy Tune
(6:16)  7. Calm
(5:34)  8. Maybe

Just look at the cover art the swirl of colors, the bodies drawn to the eye as misshapen designs, the beauteous blotches, the sturdy rhythms of angularity. In some ways it's almost inconceivable to imagine all of that acting as one, yet these images form a perfectly perceivable whole a picture that feels like home yet sits in its own space, artfully different yet accessible and inviting. It's a perfect parallel for the work of these three master musicians, collectively viewed as the most creatively durable organ trio in jazz. Together, organist Larry Goldings (who happened to create said album art), guitarist Peter Bernstein, and drummer Bill Stewart have been elevating the art of this musical format for more than a quarter of a century. This, their twelfth album in total and second on the Pirouet imprint, is but one more high point in a series of continuous peaks in this outfit's discography.

Toy Tunes takes off with "Fagen," a Goldings original nodding to Steely Dan's Donald Fagen. It's a somewhat sensitive offering that, while alluding to its honoree, adopts a loose vibe and a harmonic aura apart from Fagen's signature(s). Stewart's "Don't Ever Call Me Again" follows, coming into the picture with a skulking groove and a melody line that lays perfectly within its setting while also feeling somewhat displaced. It's vintage Stewart in its blend of intelligent design, rhythmic fervor, and surprise. Then Bernstein's harmonically vibrant "Lullabye For B" a beauty of a waltz written for his oldest son completes the album-launching triptych of originals.  Four of the five remaining tracks are covers, allowing for this trio's interpretive brilliance to shine through. "I'm In The Mood For Love" rides on the locomotive zest provided by Stewart's brush work; Carla Bley's "And Now The Queen" plays as a tale of questioning and arrival, living life on the outskirts while still remaining reachable; Wayne Shorter's "Toy Tune" offers innumerable pathways for these savvy improvisers to travel; and closer "Maybe" of Annie fame adopts a low key swing swagger in its step. The lone original on the second half of the album Stewart's aptly-titled "Calm" brings peace to the penultimate slot.  The beauty in following this trio's work rests in the fact that you somehow know what you're going to get without really having a clue. If that sounds like paradoxical play or a flirtation with the absurd, that's all the better to fit this band's vibe. ~ Dan Bilawsky https://www.allaboutjazz.com/toy-tunes-larry-goldings-pirouet-records-review-by-dan-bilawsky.php

Personnel: Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Toy Tunes

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The Supremes - The Supremes Sing Country Western & Pop

Bitrate: MP3@320K/s
Time: 31:43
Size: 72.6 MB
Styles: Soul, Motown
Year: 1965/2014
Art: Front

[3:08] 1. Funny (How Time Slips Away)
[2:55] 2. My Heart Can't Take It No More
[3:25] 3. It Makes No Difference Now
[2:30] 4. You Didn't Care
[2:17] 5. Tears In Vain
[2:16] 6. Tumbling Tumbleweeds
[3:36] 7. Lazybones
[2:55] 8. You Need Me
[2:21] 9. Baby Doll
[3:11] 10. Sunset
[3:03] 11. (The Man With The) Rock And Roll Banjo Band

The Supremes made a series of change-of-pace albums designed to show off their versatility as all-around entertainers in contrast to the pop/R&B style of their hit singles. The concept here seemed to be to reveal the group's affinity for country standards like Willie Nelson's "Funny How Time Slips Away," the leadoff track. But Motown must have decided not to let much of the song publishing out -- seven out of 11 songs were written by producer Clarence Paul, either alone or with 14-year-old Stevie Wonder or company president Berry Gordy. As a result, the collection has an ersatz quality -- Nashville by way of Detroit. ~William Ruhlmann

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Paolo Alderighi, Stephanie Trick - Broadway And More

Bitrate: MP3@320K/s
Time: 62:05
Size: 142.1 MB
Styles: Easy Listening, Broadway
Year: 2018
Art: Front

[6:25] 1. Call Me Madam Medley
[4:51] 2. Marie
[4:56] 3. Make Believe
[3:45] 4. Lambeth Walk
[6:41] 5. Torna A Surriento Anema E Core
[4:00] 6. If I Had A Million Dollars
[3:25] 7. Heartaches
[7:03] 8. The Music Man Medley
[4:48] 9. An Affair To Remember
[7:23] 10. West Side Story Medley
[4:52] 11. Penny Lane
[3:52] 12. Mr. Sandman

Stephanie Trick (from St. Louis), a leading exponent of stride piano, and Paolo Alderighi (from Milan), one of Italy’s foremost jazz pianists, met at a piano festival in Switzerland in 2008. Three years later, they started to collaborate on a four-hands piano project dedicated to classic jazz, preparing arrangements of songs from the swing era, as well as drawing from the ragtime and blues repertoire. Following the release of their first album, "Two for One" (2012), they have been invited to perform widely in the United States, Europe, and Japan. A second CD, "Sentimental Journey" (2014), shows Stephanie and Paolo’s commitment to the formula of four-hands duets on one piano, rarely used in jazz. Their partnership continued with "Double Trio Live 2015" and "Double Trio Always" (2016), recorded in the piano trio setting, but with two pianists instead of one. In 2018, they released this album, which is their first on two pianos.

The husband-and-wife duo have performed in a variety of venues, including Jazz at Filoli, the Musical Instrument Museum in Phoenix, the Sacramento Music Festival, the West Coast Ragtime Festival in Sacramento, the Monterey Dixieland Jazz Festival, the San Diego Jazz Festival, the Kobe Jazz Street Festival in Japan, the London Jazz Festival, the Edinburgh Jazz & Blues Festival, the Ascona Jazz Festival in Switzerland, the Silkeborg Riverboat Jazz Festival in Denmark, the Bohém Ragtime & Jazz Festival in Hungary, Teatro Dal Verme Milano, Jazzland in Vienna, Jazz Bistro in Toronto, and other jazz clubs.

Broadway And More                 

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The Inmates - Meet The Beatles

Bitrate: MP3@320K/s
Time: 51:45
Size: 118.5 MB
Styles: Garage Rock/Pop
Year: 1987/2003
Art: Front

[2:10] 1. Little Child
[2:54] 2. I'll Get You
[3:25] 3. She's A Woman
[2:56] 4. You Can't Do That
[3:02] 5. Day Tripper
[2:28] 6. Back In The Ussr
[2:37] 7. We Can Work It Out
[2:15] 8. I Wanna Be Your Man
[1:40] 9. Sgt Pepper's Lonely Hearts Club Band
[2:31] 10. Birthday
[2:57] 11. I Saw Her Standing There
[3:46] 12. Get Back
[2:43] 13. I'm Down
[4:31] 14. Hey Jude
[4:24] 15. Dirty Water
[2:46] 16. Jeannie, Jeannie, Jeannie
[4:35] 17. Tell Me What's Wrong

Bass – Ben Donnelly; Drums – Eddie; Guitar, Backing Vocals – Peter Gunn (4), Tony Oliver; Lead Vocals – Bill Hurley. Recorded live at la Villette, June 20, 1987.

In 1987, French leading newspaper Liberation invited British R&B stalwarts The Inmates to perform a concert in Paris to celebrate the 25th anniversary of the Sgt Pepper album. The Inmates delivered a legendary show made of pumped-up versions of Beatles classic rockers. The CD also features the encore: 3 classic Inmates songs, including their hit single "Dirty Water"

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Guy Lafitte, Wild Bill Davis, Alvin Queen - Three Men On A Beat

Bitrate: MP3@320K/s
Time: 57:36
Size: 131.9 MB
Styles: Saxophone jazz
Year: 2003
Art: Front

[3:30] 1. Wrap On
[5:09] 2. Three Men On A Beat
[4:57] 3. Johnny Come Lately
[3:52] 4. The Jeep Is Jumpin'
[5:26] 5. I Should Care
[5:14] 6. Comin' On
[4:21] 7. Somebody Loves Me
[4:29] 8. Blue Lou
[5:35] 9. She's Funny That Way
[4:19] 10. Ooh Ah Dee Dee Dee
[5:13] 11. Free, Frantic And Funny
[5:24] 12. Wrap Your Troubles In Dreams

Drums – Alvin Queen; Organ – Wild Bill Davis; Tenor Saxophone – Guy Lafitte. Recorded on January 15th 1983 at Sysmo Studio, Paris.

A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. LaFitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film Paris Blues), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL. ~bio by Scott Yanow

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Dan Adler, Joey DeFrancesco, Byron Landham - Back To The Bridge

Bitrate: MP3@320K/s
Time: 64:10
Size: 146.9 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[5:11] 1. Silver And Gold
[6:32] 2. Oh, Look At Me Now
[5:24] 3. Joy Spring
[5:18] 4. Back To The Bridge
[6:52] 5. Good Old Days
[7:44] 6. A Beautiful Friendship
[7:15] 7. Yatzanu At (We Left Slowly)
[5:07] 8. Between Jobs
[6:34] 9. I've Never Been In Love Before
[8:08] 10. The Smudge

Dan Adler: guitar; Joey DeFrancesco; organ; Byron Landham: drums.

Guitarist Dan Adler's debut, All Things Familiar (Emdan Music, 2009), demonstrated his formidable skills, and brought together a noteworthy roster of artists, such as saxophonist Grant Stewart, to fill out a quintet lineup. For his followup, the Israeli-born, New York-based six stringer pares things down and goes with an organ trio format, enlisting the most renowned and recognizable organist of the modern era, Joey DeFrancesco, and longtime drummer, Byron Landham.

The music, as might be expected, is largely made up of swinging songs in the mid-to-up-tempo range, and plenty of the songs adhere to the predictable form of head-solo-solo—sometime solo trading with drums—head. The good thing is that performance trumps occasional form predictability every time, and with players this good, it's hard not to be impressed. In addition, Adler does find ways to spice things up, regardless of some relatively conventional structures. His tempo twists and retooling work on Clifford Brown's "Joy Spring" create one such moment. Book-ending "A Beautiful Friendship" with some NOLA notions, superbly delivered by Byron's crushed snare drum sounds, represents another. The inclusion of a chill-inducing, mournful Israeli-standard/ballad, "Yatzanu At (We Left Slowly)," decidedly atypical fare for an organ album, is, yet, a third.

DeFrancesco's jaw-dropping technique and lightning quick reflexes show up here and there with a quick mid-solo run, but he largely reins in those tendencies and works, in a more sympathetic manner with, what Adler lays out for him. Sometimes, as on "Oh, Look At Me Now," the well-crafted organ bass lines are as easily noticed as any other work from DeFrancesco. Adler, likewise, demonstrates terrific facility and a clean-toned clarity throughout his playing. He self-edits with great taste, never overplaying or throwing in needless licks. Landham's snappy swing, clean brushwork and quick thinking give spark to these songs. When he pulls a reverse Art Blakey, playing a de-cresendoing press roll during the solo trading on "Oh, Look At Me Now," he demonstrates intelligence in simplicity.

Other highlights include a Sonny Rollins-style calypso original from Adler ("Between Jobs"), snappy version of "I've Never Been In Love Before"—which gives the guitarist a chance to throw in a quick "Surrey With The Fringe On Top" quote—and the album opener, "Silver And Gold," a tribute to pianist Horace Silver. It's hard to think of the organ trio tradition without thinking of the blues, and Adler closes the album with "The Smudge"—a mid-tempo blues vehicle from the late Oscar Peterson. Back To The Bridge is a fine showcase for Adler's writing, arranging and guitar playing skills, and presents ten tracks of organ trio music in all its glory. ~Dan Bilawsky

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Beady Belle - Dedication

Bitrate: MP3@320K/s
Time: 47:16
Size: 108.2 MB
Styles: Soul, R&B
Year: 2018
Art: Front

[3:52] 1. Mercy
[4:26] 2. Out Of Orbit
[3:30] 3. I Run You Ragged
[5:35] 4. Traces
[3:48] 5. Hold Your Breath
[3:09] 6. Dedication
[5:22] 7. Mooring Line
[2:57] 8. Waste Of Grace
[5:04] 9. My Religion
[5:34] 10. Last Drop Of Blood
[3:53] 11. Can You Smile

Music, lyrics, production, lead vocals: Beady Belle; Prophet 5, Minimoog, Juno 60, Arp, Fender Rhodes, Clavinet, Hammond organ, grand piano, electric guitar, auto harp and glockenspiel: David Wallumrød; Drums, shaker and tambourine: Bjørn Sæther; Electric bass: Marius Reksjø; Backing vocals: LaDonna Harley-Peters Sharlene Hector and Vula Malinga - LaSharVu; Percussion: Martin Windstad; Electric sitar: Bjørn Charles Dreyer.

With "Dedication", Beady Belle has drawn together all the threads of inspiration at the core of who she is and has woven a brand new tapestry that is vibrant, organic, energetic, cool, emotional, intimate, and unequivocally funky. Soul and R&B have always been close to Beady Belle's heart, and with "Dedication", she is fully immersed in these twin worlds. "I associate this music with the 70's," she says. "It's recorded live with old, original instruments. Raw and unpolished. With the groove as an unstoppable engine. It's a tribute to my great heroes - Stevie Wonder, Marvin Gaye, Donny Hathaway and Aretha Franklin, while there are whispers of younger Soul artists like Alicia Keys, Raphael Saadiq, Lauryn Hill and Frank Ocean."

The title, "Dedication", refers to the most important thing in life - at any given time - as you go through hell and high water to achieve it. It is the battle that requires full dedication to win. But winning is never guaranteed ... The prize can be a breath of happiness, a sigh of relief, a roaring victory or a restful calm. The road ahead often seems darker than it really is as the goal ahead shines so brightly. But if an honest path is found, and one is true to oneself, that shining objective may not be so far away after all. The roads to Rome are many ...

"Dedication" is in many ways a continuation of the previous album, "On my own" (2016). The organic live feeling there has been developed further here, but now with a clear step closer to Soul and with the driving rhythm and groove solidly placed centre-stage. Beady Belle writes - and has always written - pop music. She conjures catchy and intuitive melodies, while at the same time adds deliberate - and sometimes intricate ? themes and musical depth. But the dress of her music has varied and developed in accordance with the fluctuations that have affected her life along the way. The lyrical themes are also carried forward from the previous release, where all the songs were about "otherness," about being different, standing on the outside and not knowing how to get in. About not fitting in where you are supposed to feel at home.

Beady Belle also began a process of introspection and self-examination after a close family member's health drastically changed. Discovering new challenges in the fresh perspective on life this brought, it became therapeutic to convey her experiences and thoughts in her lyrics and music, and in turn, the songs could perhaps give others courage and comfort.

Beady Belle's music has moved from a rather clubby Neo soul to Electronics Inspiration, through Nashville-inspired Country and Jazz. But her love for Soul and R & B has coloured all the songs. "Honesty is the key in all the words and music I've written. On all my records, I'm searching for a core that is close to my heart, but this changes as life goes and I change. What was me before may not be me anymore. Therefore, my music has always changed character from release to release - but always with a clear signature from my heart. There is always something open, revealing in it."

Beady Belle often writes songs with surprising juxtapositions of lyric and melody: the lyrics and melody often seems to be from opposite moods. Jamie Cullum once said, "Your song is a real mindfuck". It occurs when, for example, you are drawn to your feet to dance and sing along to a joyful tune that lyrically is about something downbeat and serious. Should you cry or laugh? Beady Belle finds great inspiration and power in this dichotomy. "Contrasts and duality are the stuff of life," she says, "I rarely feel that something is purely either joyous or sad. And smiling through tears is an expression of the strongest emotions. I want to write music and words that convey this."

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Tommy Alexander - Tommy Alexander Presents His Golden Trombones (Remastered)

Bitrate: MP3@320K/s
Time: 31:14
Size: 71.5 MB
Styles: Big band, Vocal jazz
Year: 1958/2010
Art: Front

[2:36] 1. Come Rain Or Come Shine (Feat. Bob Manning)
[2:11] 2. All Of Me (Feat. Bob Manning)
[2:35] 3. That's All I've Got To Say
[2:21] 4. Tea Time
[2:01] 5. I've Grown Accustomed To Her Face
[2:53] 6. I Hadn't Anyone Till You
[2:53] 7. Sunday Kind Of Love (Feat. Bob Manning)
[2:16] 8. Lullaby Of Birdland
[3:38] 9. Gone With The Wind
[3:27] 10. I Could Write A Book (Feat. Bob Manning)
[1:54] 11. Almost Like Being In Love
[2:22] 12. Minor Effort

This classic 1958 audiophile recording features West Coast pianist/arranger Tommy Alexander leading a big band featuring a trombone section with the superb Bob Manning featured as guest vocalist on "Come Rain Or Come Shine," "All Of Me," "Sunday Kind Of Love" and "I Could Write A Book." West Coast jazz legend Bill Holman helps out on arrangements. All selections newly remastered.

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Ray LeVier - Ray's Way

Bitrate: MP3@320K/s
Time: 61:51
Size: 141.6 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[5:33] 1. Ray's Way
[4:03] 2. Manahatta
[9:23] 3. You Never Know
[5:45] 4. Song For Nury
[8:04] 5. Blues In The Closet
[8:23] 6. Bait Tone Blues
[7:21] 7. Ralph's Piano Waltz
[5:48] 8. Echoing
[7:27] 9. Wing And A Prayer

DAVE BINNEY - saxophone (1,3,4,6); FEDERICO TURRENI - soprano sax (8); JOHN ABERCROMBIE - guitar (1,2,4,7,8); MIKE STERN - guitar (3,5,6,9); JOE LOCKE - vibes (1,2,4,7,8); FRANCOIS MOUTIN - bass (1,2,3,4,6,7,8); NED MANN - bass (5,9); RAY LEVIER - drums.

New York drummer Ray LeVier brings together some of the world?s most creative jazz voices for his debut recording as a leader. With guitarists Mike Stern and John Abercrombie, saxophonist Dave Binney, vibist Joe Locke, and Francois Moutin on bass, among others, LeVier has produced a stirring and cohesive album of original music. From the hard-hitting grooves on several of Mike Stern's contributions to the flowing and fresh reading of John Abercrombie?s classic "Ralph's Piano Waltz," "Ray's Way" stands as an inspired introduction to a gifted composer, drummer and producer.

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Hank Jones, Oliver Nelson - Happenings

Bitrate: MP3@320K/s
Time: 33:44
Size: 77.2 MB
Styles: Soul-jazz, Bop
Year: 1966/2001
Art: Front

[2:55] 1. Broadwalk Samba
[2:23] 2. Winchester Cathedral
[2:35] 3. Mas Que Nada (Pow, Pow Pow)
[2:31] 4. Lullaby Of Jazzland
[2:18] 5. Jazztime, U.S.A
[3:03] 6. Cul-De-Sac
[3:09] 7. Happenings
[4:21] 8. Lou's Good Dues Blues
[4:24] 9. Fugue Tune
[3:10] 10. Spy With A Cold Nose
[2:50] 11. Funky But Blues

Bass – George Duvivier, Ron Carter; Drums – Ed Shaugnessy, Grady Tate; Harpsichord [Electric] – Hank Jones; Percussion – Joe Venuto; Piano – Hank Jones; Trombone – Britt Woodman, J.J. Johnson, Jimmy Cleveland, Tom Mitchell; Trumpet – Clark Terry, Ernie Royal, Snooky Young, Joe Newman; Woodwind – Danny Bank, Jerome Richardson, Jerry Dodgion, Phil Woods, Robert Ashton, Romeo Penque. Recorded October 19, 1966 - October 21, 1966.

The combination of Hank Jones and Oliver Nelson, along with sidemen such as Clark Terry, Ernie Royal, and Jerry Dodgion, would normally have one expecting a great release. Unfortunately, Jones plays an electric harpsichord on seven of the 11 tracks from this mid-1960s LP, plus there are several dated pop numbers from the era, including "Winchester Cathedral" (though it has a campy pesudo-Satchmo vocal by Terry) and the bland "Mas Que Nada (Pow Pow Pow)," which has long since worn out its welcome. Jones' playing, Nelson's arrangements and his originals (including "Happenings" and "Lou's Good Due Blues"), and the work of the various sidemen is all first rate. But the forgettable sound of the electric harpsichord (an instrument that thankfully didn't catch on, contrary to liner note writer Stanley Dance's prediction that it was here to stay along with earlier electronic instruments) keeps this release from achieving the heights it would have if Jones had only stuck to the piano throughout the sessions. This disc will be sought only by those fans who must have everything Hank Jones has recorded. ~Ken Dryden

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