Monday, June 22, 2020

Ralph Moore - Images

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:48
Size: 121,2 MB
Art: Front

(8:07)  1. Freeway
(5:32)  2. Enigma
(7:40)  3. Episode from a Village Dance
(8:36)  4. Morning Star
(5:39)  5. This I Dig of You
(5:06)  6. Blues for John
(7:02)  7. Punjab
(5:03)  8. One Second, Please

The particularly strong material and the all-star lineup (tenor saxophonist Ralph Moore, trumpeter Terence Blanchard, pianist Benny Green, bassist Peter Washington, and drummer Kenny Washington) make this a particularly enjoyable set from the tenorman. Although still displaying the inspiration (soundwise) of early-'60s John Coltrane, Moore had developed an increasingly original style within the modern mainstream throughout the 1980s. Highlights of this excellent set include J.J. Johnson's "Enigma" (a ballad feature for Moore), Hank Mobley's "This I Dig of You," and Moore's "Blues for John" (written in tribute to Coltrane). One of Ralph Moore's more significant recordings to date.~ Scott Yanow  https://www.allmusic.com/album/images-mw0000201085

Personnel: Ralph Moore – tenor saxophone; Terence Blanchard – trumpet (tracks 1, 3, 5 & 7); Benny Green – piano; Peter Washington – bass;  Kenny Washington – drums

Images

Sunday, June 21, 2020

Charlie Spivak - At The Palladium

Styles: Trumpet Jazz 
Year: 2010
File: MP3@320K/s
Time: 42:55
Size: 99,2 MB
Art: Front

(0:34)  1. Theme And Introduction
(3:09)  2. Diggin' Groove
(2:42)  3. I Miss Those Little Things
(3:00)  4. Fla-Ga-La-Pa
(3:30)  5. Elegy
(2:38)  6. That Old Devil Moon
(2:58)  7. Ain't Goin' Nowhere
(2:44)  8. Either It's Love Of It Isn't
(3:57)  9. Three Deuces
(3:47) 10. I Want To Thank Your Folks
(4:06) 11. The General Jumped At Dawn
(1:57) 12. Put Your Arms Around Me Honey
(3:57) 13. The Dreamer
(3:53) 14. You Can Depend On Me

Despite coming up in the jazz world and spending his life around jazz musicians, Charlie Spivak rarely improvised and was most notable for his pretty tone. He moved to the U.S. with his family as a small child and grew up in New Haven, CT. Spivak began playing trumpet when he was ten, gigged locally as a teenager, and worked with Don Cavallaro's Orchestra. During most of 1924-1930 he was with Paul Specht's Orchestra, primarily playing section parts where his tone was an asset. Spivak was cast in the same role with Ben Pollack (1931-1934), the Dorsey Brothers (1934-1935), and Ray Noble. He worked in the studios during most of 1936-1937 and then had stints with the orchestras of Bob Crosby, Tommy Dorsey, and Jack Teagarden. Spivak formed his own band in November 1939 (financed by Glenn Miller) and, although his first orchestra failed within a year, his second attempt shortly after was more successful; in fact, Spivak became a major attraction throughout the '40s and he kept his band together until 1959. Spivak lived in later years in Florida, Las Vegas, and South Carolina, putting together orchestras on a part-time basis, staying semi-active up until his death at the age of 75. Among his better recordings were his theme "Let's Go Home," "Autumn Nocturne," and "Star Dreams." Charlie Spivak, who recorded as late as 1981, was married to singer Irene Daye (who was formerly with Gene Krupa's Orchestra). ~ Scott Yanow https://www.allmusic.com/artist/charlie-spivak-mn0000214702/biography

At The Palladium

Pete & Cante Condoli - The Candoli Brothers

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 31:03
Size: 71,8 MB
Art: Front

(7:12)  1. Doodlin’
(5:49)  2. Willow Weep For Me
(3:42)  3. Take The A Train
(3:55)  4. Blue ‘N Boogie
(3:20)  5. Love Your Magic Spell Is Everywhere
(7:02)  6. Aleucha

Conte Candoli had this incredible mop of white hair, a carefully managed harvest of silver that flashed like a battle pennant when he was up there in the back row of a big band. The back row is where the trumpet players sit. This is the bridge, this is mission control. They called him Count, this strange Old World figure, and when Count was on duty, his bandmates could be sure those crucial brass passages would bark right out and make the whole band speak. This was true even though Candoli didn't play lead trumpet, but covered the second or third parts in the ensemble harmony. Count's place on the haphazard battlefield of modern jazz rested on his prowess as a trumpet soloist, a narrow specialty in which he was an all time top gun. Even Freddie Hubbard and Nat Adderley feared him. His reputation can be attested to by anyone who has heard Candoli in person with Bill Berry's L.A. Big Band, the Frankie Capp-Nat Pierce Juggernaut, Supersax or the Thursday Night Band, the small group he led weekly at the old Donte's in North Hollywood.

But he didn't have to push a recording career, like the bigger names. Count's meal ticket was his gig every day at NBC television studios in Burbank, in the trumpet section of the Doc Severinsen ''Tonight Show'' band, whose best numbers were played during commercial breaks and never reached the public ear.This was corrected when the 20-year-old band went on tour for the first time back in the 1980s.''It was a great tour, the crowds were terrific, but, you know, we're senior citizens. We had to take plenty or Preparation H, 'cause we had some rough jumps: Ten one-nighters.''But we had a really great bus with lounge chairs and a VCR and a bathroom and a kitchenette where we kept food. And we really needed it sometimes.''There was a scare when (fellow trumpetman) Johnny Audino got sick in Cleveland, because he thought maybe he was having a heart attack, but on the contrary it was an attack of food poisoning. It only cost him about $2500 to find out. But that was the only drag.''

Back home in the Valley, Candoli led the Thursday night band at the old Donte's club on Lankershim, backed usually by Ross Tompkins, a fellow member of the Tonight Show band, on piano. The band usually had Roy McCurdy or Lawrence Marable on drums, and Chuck Berghofer on bass. Local tenormen such as Don Menza, Jay Migliori, Joe Romano, or Bill Holman were apt to drop by for a workout. Sometimes trumpeter Sal Marquez, a fellow Woody Herman alumnus, would sit in; Al Cohn's son Joe, the guitarist, came around every few months with his Boston cohorts when the Artie Shaw band played Disneyland. In essence, the Thursday Night Band hosted the oldest permanent floating jam session in L.A. And every once in a while, Count's brother Pete Candoli, dean of the studio stalwarts and like his little brother a name band veteran, would stop by with his Martin Committee model trumpet. Then the band became the Candoli Brothers, and you had to look out, because the two dashing kinsmen from the South Side of Mishawaka, Ind., were a sight and a sound to behold. You had to go back to Louis Armstrong and Buddy Bolden for a pair of trumpeters like these.

Chest out, shoulders back and horn straight out, Pete looked like a bandmaster from ''The Music Man,'' as he and Conte went through their carefully polished duets on numbers like ''Jitterbug Waltz,'' ''Willow Weep for Me,'' and ''Round Midnight'' Count, whose given name is Secondo, (meaning the second son in Italian,) held his head down and angled his horn at the floor. He looked like a bandit as he harmonized, dark and soulful, while Pete played the melody, bright and bouyant. Every so often, Pete would wipe Count's head with a handkerchief, or Count would hold his horn out bell-to-chin, as though it were a violin, and pretend to bow it. You'd think you were at the London Palladium, watching a pair of music hall comics. Pete started out in the band business with Tommy Dorsey, and he's one of the great lead players. His solos are urgent but dignified, and he likes to throw in a little Stravinsky or Bartok for a touch of humor. Conte's solos were sardonic and bluesy, full of impossible feats like two octave grace notes, high velocity drum rolls on a single note, and intricate cadenzas that might have been played by Bud Powell, the pianist.

His first job was with Woody Herman, in the summer of 1943, when Conte was 16 years old. They wanted Pete, who was 20, but he was working with Benny Goodman at the time. ''They (the Herman band) were in Chicago, and my home town is like a hundred miles from Chicago,” Conte recalled for a reporter. “They figured 'Well, Pete's not available, why not try his kid brother, I heard he plays good.' Sheeesh! ''I joined the band at the Oriental Theater in Chicago, and Dave Tough was on drums; Chubby Jackson, bass; Flip Phillips, tenor; Bill Harris, trombone; Neil Hefti and Sonny Berman on trumpets, and Ralph Burns on piano. I mean, jeeze! ''We played 'Woodchopper's Ball,' and I'm so nervous, I can't believe it, man, I'm in the fing band! And Woody points to me, and I play a chorus, and he points again! You know, one more! And the first chorus, I was playing all right, but I couldn't keep my knees from shaking, man! I swear to God! It was the first time I'd ever got to where my knees were shaking!'' ''At that time, I was playing like 'Little Jazz' (Roy Eldridge) and every note that come out of my horn had a buzz sound.'' He'd heard Roy in Chicago, practicing backstage with a towel in his horn so no one could hear him in the audience out front. He couldn't wait to go home on the Illinois Central and try that out. Later, Pete took him to see Dizzy Gillespie in New York, but he didn't quite understand bebop at his tender age, and besides by this time his man was Harry James. ''I loved Harry till he died, and he had it all he could play jazz, he could play lead, you know, a great trumpet player, so clean. And Doc Severinsen is like an extension of Harry James.'' After his summer with Woody, Conte went back to Mishawaka and finished high school at the insistence of his father, who was born in Italy and settled in this country after World War I to work in the United Rubber Corp. plant."

My dad always had instruments around. He played trumpet, not professionally, but in a band they had formed at an Italian club. ''But, the horns were always around the house. I remember picking up a little peck horn when I was five or six years old, and I'd hide behind my dad, and Pete would play baritone horn, and I'd play oom pa pa, oom pa pa.''

Graduation behind him, Conte rejoined Woody, served in the army, landed with Stan Kenton, then got back with Woody for a while. He toured with Charlie Ventura, whose band featured Boots Mussulli on baritone sax, and it was Boots who gave him the nickname ''Count,'' in honor of an all-black outfit Candoli brought back from Sweden. He toured with Kenton again before settling in California in the 1950s, after his wife was injured in a bus crash. He remarried and became a grandfather. In L.A., he played in the studios,, recorded frequently, and worked countless nights at the Lighthouse and Shelly's Manne Hole with Dexter Gordon and the rest of the cats, landing in the Tonight Show band in 1968. But Conte Candoli said he would never forget the night he sauntered into a joint on Vine Street and found Count Basie seated at a table. https://musicians.allaboutjazz.com/contecandoli

''I say, 'Count!,' cackled Candoli, ''and he says, 'Count!'

''And I say, 'You're the real Count.'

''And he says, 'Naw, naw, you're the real Count.'

''Can you believe it? Jeesh! Unbelievable.'' The real Count clapped his hands in delight.

The Candoli Brothers

Gene McDaniels - A Hundred Pounds of Clay

Styles: Vocal 
Year: 1961
File: MP3@320K/s
Time: 30:20
Size: 70,8 MB
Art: Front

(2:18)  1. A Hundred Pounds of Clay
(2:42)  2. It's All in the Game
(2:36)  3. Take Good Care of Her
(2:12)  4. At the End
(2:48)  5. Are You Sincere
(2:57)  6. Portrait of My Love
(2:32)  7. Till There Was You
(2:15)  8. Send for Me
(2:29)  9. Angels in the Sky
(2:22) 10. Cry
(2:09) 11. You Belong to Me
(2:54) 12. Make Me a Present of You

Built around his first hit, A Hundred Pounds of Clay ought to be a major part of the Gene McDaniels album library. The fact that it isn't is a statement of its poorly focused nature, in terms of this artist, and the latter can be attributed to an error -- though an understandable one at the time in judgment. McDaniels never liked the song, feeling it was too pop and mainstream, but it was his breakthrough, and a monster seller in the bargain, and producer Snuff Garrett, quite reasonably, chose to push his artist further in that direction. Thus, instead of exploiting the soul side of his appeal, this album, released in the wake of that hit, was an attempt to present him as a pop artist. So here McDaniels is, doing tame and, worse yet, unexciting renditions of "Till There Was You," "Portrait of My Love," "It's All in the Game," and "Cry" (yes, the old Johnnie Ray hit). His voice still has a basic appeal that‘s impossible to ignore anywhere here, especially when he wraps it around a phrase with a lot of feeling and reaches to either the lower or upper part of his register, even if it's being wasted on some of this repertoire and the dullish tempos and Garrett's production excesses bury some of that allure for the casual listener. Of course, at the time all parties involved were only interested in selling records and not worrying about the artistic validity of McDaniels' releases, or how these would be judged 50 years (or even 50 weeks) later; all of these decisions were being made on the fly, and they just happened to be the wrong ones in terms of making great music. Only on the title song, the jaunty hook-laden "Send for Me," and the bluesy, moody closer, "Make Me a Present of You," does the listener get a real taste of McDaniels' ability. If one doesn't mind the detour out of soul and into mainstream pop, this is an OK record it just follows the road map established by "A Hundred Pounds of Clay" in the wrong direction. ~Bruce Eder https://www.allmusic.com/album/a-hundred-pounds-of-clay-mw0000857053

A Hundred Pounds of Clay

Saturday, June 20, 2020

Bert Kaempfert and his Orchestra - A Swingin' Safari (Remastered)

Styles: Jazz, Swing, Big Band 
Year: 1962
File: MP3@320K/s
Time: 32:36
Size: 75,9 MB
Art: Front

(3:07)  1. A Swingin' Safari
(2:52)  2. That Happy Feeling
(2:30)  3. Market Day
(3:02)  4. Take Me
(2:56)  5. Similau
(2:48)  6. Zambesi
(2:26)  7. Afrikaan Beat
(2:37)  8. Happy Trumpeter
(2:08)  9. Tootie Flutie
(2:40) 10. Wimoweh
(2:35) 11. Black Beauty
(2:49) 12. Skokiaan

This album was recorded in the Polydor Studio in Hamburg-Rahlstedt by sound engineer Peter Klemt in December 1961 and in March 1962. This production was first released in the United States the following August under the title THAT HAPPY FEELING and had climbed to Number 14 in the charts by September of that year. The LP was then released on the European market with the title A SWINGIN’ SAFARI in autumn of the same year. The two Kaempfert compositions A Swingin’ Safari and Afrikaan Beat soon became world hits and have since become evergreens. The success of Take Me famous is down to Dean Martin’s vocal version of the number, and That Happy Feeling, Market Day and Happy Trumpeter were sensational, long-running hits on American radio. At that time, the typical Kaempfert rhythm had been enhanced by a titillating sound coming from the flutes: Bert Kaempfert modeled this music on the sound produced by blowing penny whistles (brass flutes) in the same particular way as in South African Kwela music. The style of this had been influenced by American swing and was very popular among young black people in the townships.

“Bert Kaempfert tried to get the piccolos to imitate the sound of penny whistles. We had real hard rehearsals. But at last we had made it and Bert was really pleased to have captured the charm of the whistles in ‘his’ piccolos,” reminisced bass guitarist Ladi Geisler. The intro to Afrikaan Beat is also one of the most unmistakable symbols of Bert Kaempfert and his Orchestra today, with its typical ‘cracking bass’. Again Ladi Geisler recalls: “We musicians were, as always, gathered around one microphone. My amplifier was about 3 meters away, the same distance as the trombones. Bert Kaempfert advised me to go easy on the lower notes (these were to come from the double-bass) and the high notes were to be accentuated so that it would really ‘crack’. This was how the term for the Bert Kaempfert sound ‘cracking bass’ was born.” In the course of the years, Bert Kaempfert received a number of awards and gold LPs as a reward for the huge success of this album all over the world. But he was particularly delighted to receive a gold LP from South Africa. https://kaempfert.de/en/album/a-swingin-safari/

A Swingin' Safari (Remastered)

Robyn Pauhl - Robyn Pauhl

Styles: Vocal 
Year: 2008
File: MP3@320K/s
Time: 24:18
Size: 56,3 MB
Art: Front

(3:51)  1. Beginning to Fall
(3:54)  2. All I Said
(4:05)  3. Meet Me in the Middle
(4:12)  4. Westbound Like the Sun
(3:46)  5. I Feel Nothing Now
(4:29)  6. Remember Me

Robyn Pauhl has over twenty years of performing experience, singing professionally since the age of eleven. She has opened shows for U.S. country stars George Jones at Lulu's in Kitchener, Loretta Lynn at Copps Coliseum in Hamilton and the International Center in Toronto. As well as for some eminent Canadian country acts such as, Michelle Wright, Prairie Oyster, Jason McCoy, Beverly Mahood, Jim Witter, jazz artist Carol Wellsman, and has performed in concert with world renowned jazz bassist, Dave Holland. An enthralling performer, Robyn has a voice that has enough power and range to make it worth remarking on. Robyn sounds as if her passion could swallow the world. What lifts her performances miles above nostalgia is that she delivers her feelings with astonishing power and ebullience. One can see the emotional intensity that Robyn brings to everything she sings. There is a sincerity in her singing that pierces her audiences, spurring an immediate connection with her listeners. She has been seen coast to coast, appearing on everything from local cable shows to highly rated television news programs such as, Canada AM, Breakfast Television and Global News. She has been featured on the cover of the Hamilton Magazine and a two page spread in Hmm...The Hamilton Men's Magazine.

In 2005, Robyn graduated with honours from the Humber College Music Program in Toronto, ON. She attained knowledge in theory, composition and arranging for string sections, horns, and big bands. She has thirteen years of teaching experience in vocal, theory, and piano. She is the winner of The 2009 Hamilton Music Award for People's Choice Independent Music Teacher of the Year and works with artists  on vocal pre-production at her studio.Robyn's lastest single was released, September 2013. The new material shows Robyn turn her passions back to country music. She produced and wrote her latest song, "All That I Want", with her eight year old student, Alyssa West! The single was engineered and co-produced with husband, Justin Koop at B Town Sound in Burlington. https://www.robynpauhl.ca/bio

Robyn Pauhl

Friday, June 19, 2020

Miranda Lambert - Platinum

Styles: Vocal 
Year: 2014
File: MP3@320K/s
Time: 58:24
Size: 134,4 MB
Art:

(3:35)  1. Girls
(3:11)  2. Platinum
(3:24)  3. Little Red Wagon
(5:30)  4. Smokin' and Drinkin' (feat. Little Big Town)
(3:26)  5. Priscilla
(4:07)  6. Automatic
(4:06)  7. Bathroom Sink
(2:45)  8. Old Sh!t
(3:12)  9. All That's Left (feat. The Time Jumpers)
(3:08) 10. Gravity Is a B**ch
(2:56) 11. Babies Makin' Babies
(2:49) 12. Somethin' Bad (with Carrie Underwood) [Duet Version]
(4:32) 13. Holding On to You
(3:18) 14. Two Rings Shy
(4:28) 15. Hard Staying Sober
(3:50) 16. Another Sunday in the South

Platinum is the fifth studio album by American country music singer and songwriter Miranda Lambert. It was released on June 3, 2014, by RCA Nashville. Lambert wrote or co-wrote eight of the album's 16 tracks while working with a host of session musicians and songwriters, as well as guest performers Little Big Town, The Time Jumpers, and Carrie Underwood. The album was produced by Frank Liddell, Chuck Ainlay, and Glenn Worf. Platinum debuted at number one on the Billboard 200, becoming Lambert's first to top the chart, while selling 180,000 copies in its first week. It received widespread critical acclaim and earned Lambert a Grammy Award for Best Country Album as well as a CMA Award and ACM Award in the same category. The album was certified platinum for sales of one million copies in the United States. Lambert wrote or co-wrote eight of the album's 16 tracks. The album features collaborations with Little Big Town ("Smokin' and Drinkin'") and The Time Jumpers ("All That's Left"), as well as a duet with Carrie Underwood on "Somethin' Bad". It was recorded in sessions at Cyclops Sound in Los Angeles, Dave's Room in Hollywood, and the Nashville-based studios Ronnie's Place, Ben's Studio, Sound Stage Studios, St. Charles Studio, and The House. More... https://en.wikipedia.org/wiki/Platinum_(Miranda_Lambert_album)

Platinum

Brian Bromberg - Metal

Styles: Jazz Fusion, Jazz-Rock
Year: 2005
File: MP3@320K/s
Time: 52:22
Size: 120,7 MB
Art: Front

(5:21)  1. Good Morning
(8:47)  2. The Dungeon
(5:36)  3. Through the Window
(5:57)  4. Trade Show
(5:50)  5. Carlos
(5:35)  6. Top Down
(5:38)  7. Fooled Ya!
(3:54)  8. The Message Within
(5:39)  9. Flight of the Phoenix

Brian Bromberg, a highly versatile bassist who can play straight-ahead jazz, fusion, smooth, and adventurous music with equal skill, is a masterful tapper too. On this rockish fusion set, most of the selections have just Bromberg joined by drummer Joel Taylor. Bromberg utilizes an overdubbed piccolo bass like a guitar (so one would swear this was a guitar-driven power trio) in addition to his standard electric bass. 

Keyboardist Dan Siegel is on two numbers and drummer Tom McCauley subs for Taylor on one song, but otherwise all of the music is made by the two musicians. The results are nine rock-oriented originals played with plenty of spirit, passion, and fun in addition to the expected virtuosity.~ Scott Yanow https://www.allmusic.com/album/metal-mw0000266459

Personnel:  Brian Bromberg - electric bass, piccolo bass; Dan Siegel - piano; Joel Taylor - drums

Metal

Thursday, June 18, 2020

Peter Asplund Quartet - As Knights Concur

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:07
Size: 138,2 MB
Art: Front

( 6:59)  1. In A Pensive Place
( 7:46)  2. Days of Wine and Roses
( 5:24)  3. Mexican Hayride: I love you
( 7:40)  4. Wonderyear
(12:17)  5. Where or When: Babes in Arms: My Funny Valentine
( 5:29)  6. The Prowlers
( 7:09)  7. Sunny
( 7:20)  8. On Green Dolphin Street

Peter Asplund is one of Sweden’s foremost trumpet players. Or why not say it like it is? He is one of Europe’s or even the world’s foremost trumpeters. Why draw a line when there is no need to? Jazz is not limited by any national borders. It has been written: "A fantastic musician who always plays straight from the heart" - and to which we can all readily agree! Over the years he has developed his dynamic and energy-loaded, slightly melancholic and melodic trumpet style until he can express what he feels when he feels. This applies when he plays a standard by, say, George Gershwin, Cole Porter or Duke Ellington. And it also applies when he plays some of his own original compositions, tunes with a distinct accent on melody, ”my own standards” he calls them.  He has made eight CDs in his own name, been nominated to a Swedish Grammis and received the most prestigious award one can achieve in Swedish jazz, Orkester Journalen’s ”Gyllene Skivan  Golden Record” for two of his albums ”Lochiel’s Warning” and ”Asplund Meets Bergstein”. For very good reason he is one of the most sought-after musicians in Sweden. He appeared on the scene in the early Nineties. At the same time soul music was experiencing a revival and pop music began to include elements of jazz. Peter Asplund was one of the obvious but few soloists to be invited to provide that flavour on more than 200 recordings. It is Peter Asplund’s philosophy that development comes from trial and hard work. To become an artist it is also necessary to be a craftsman. The one gives birth to the other and somewhere along the way one’s personal voice and manner of expression begins to appear.

In Peter Asplund’s case, this came early on. He was a young prodigy who quickly went from strength to strength. From there he has steadily developed and refined what has always been present. It sounds easy - and may have possibly been that, but it would not have happened without much diligent work. Although constantly in demand from many, first and foremost it is Peter Asplund jazz artist. He has been leader of several of his own groups. Of these, perhaps he is best known for the successful years with his quartet comprising pianist Jacob Karlzon, bassist Hans Andersson and drummer Johan Löfcrantz Ramsay. With them and other groups he has toured Sweden and abroad and played everywhere from small clubs to concert halls and festivals, toured around USA, Canada, England, Germany, Australia, Poland, Switzerland, former Yugoslavia, Romania, Ireland, Mexico, Argentina, South Africa, Japan, and of course the other Scandinavian countries. But Peter Asplund has not only fronted his own groups and projects, he has also been for many years a central member in two of Sweden’s foremost big bands - Tolvan Big Band and Stockholm Jazz Orchestra and, together with saxophonist Magnus Lindgren, he also leads Blue House Jazz Orchestra, the Stockholm Concert Hall’s own big band.

Today, jazz artist Peter Asplund is mainly working as soloist with trios, big bands, sinfoniettas, wind orchestras and choirs. In 2007 Peter Asplund surprised the jazz world when he made his debut as a jazz singer. He quickly advanced to become one of Sweden’s best jazz singers in the swinging footsteps of Frank Sinatra and Mel Tormé. After a dynamic scat duet with singer Deborah Brown, she suggested without hesitation that he should make a recording to show how a male jazz singer really should sound. As though this was not enough, Peter Asplund is also a sought-after teacher and pedagogue, busily- engaged with a unique ability to share his steadily increasing knowledge with others. For many years he was trumpet teacher at the Royal College of Music in Stockholm and he regularly holds clinics over the whole of Sweden. Peter Asplund is also a keenly sensitive producer who is increasingly active for jazz recordings. 

Over the years Peter Asplund has played with the majority of great names in Swedish music and an impressive list of the international elite: Patti Austin, Louie Bellson, Jerry Bergonzi, Randy Brecker, Bob Brookmeyer, Deborah Brown, Randy Crawford, Eddie Daniels, Sinne Eeg, Georgie Fame, Mike Gibbs, Herbie Hancock, Diana Krall, Mel Lewis, Dave Liebman, Ivan Linz, Joe Lovano, Jim McNeely, Vince Mendoza, Bob Mintzer, Veronica Mortensen, Silje Nergaard, Ceacilie Norby, Adam Nussbaum, Dick Oatts, Maria Schneider, Gary Smulian, Martial Solal, Clark Terry, Toots Thielemans, Stan Tracey, McCoy Tyner, Jukkis Uotila, The Vanguard Orchestra, Kenny Werner, Kenny Wheeler, Norma Winstone, Niels Henning Ørstedt Pedersen, Jan Allan, Alice Babs, Claes Crona, Lars Danielsson, Arne Domnérus, Rigmor Gustavsson, Lars Jansson, Nils Landgren, Magnus Lindgren, The Real Group, Esbjörn Svensson Trio (e.s.t.), Bobo Stensson, Svante Thuresson, Victoria Tolstoy, Bengt-Arne Wallin, Putte Wickman, Monica Zetterlund, Lennart Åberg... https://peterasplund.com/index.php?sida=bio

Personnel: Trumpet – Peter Asplund; Bass – Hans Andersson; Drums – Johan Löfcrantz; Flugelhorn – Peter Asplund; Piano – Jacob Karlzon

As Knights Concur

Elise Morris - Dancin' with the Boys

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 53:06
Size: 122,7 MB
Art: Front

(4:10)  1. Mardi Gras
(6:38)  2. Dancin' with the Boys
(5:25)  3. Unto Light Unbroken
(4:39)  4. Rainy Day
(5:33)  5. Times Will Get Better
(3:26)  6. Didn't I Tell You?
(4:08)  7. Silently
(3:44)  8. Ready for You
(5:05)  9. Month of Sundays
(3:01) 10. In My Heart and on My Mind
(7:13) 11. Sorrow and Treason

Elise is a classical female jazz artist in New York, NY. She blends influences into a theatrical flair for jazz influenced songs.  As a member of Joe Jackson’s band, she toured the world playing keyboards and singing background and lead vocals. She has written lyrics for Pat Metheny, music for Doc Pomus and wrote and performed the piano underscore for Harlan Ellison’s recording of his classic short-story “On The Downhill Side”. Les McCann loved her playing so much, he invited her onstage to join his band a true honor. The legendary Cy Coleman used her talents as a keyboard player for his show, “Exactly Like You” at the York Theater NYC and Tan Dun relied on her prepared piano and improvisational skills to perform in “America Dreaming” directed by Michael Mayer at The Vineyard Theatre in NYC.  She’s been an Artist-In-Residence in Atlantic Center for the Arts, Florida, and at I-Park, East Haddam, Connecticut multiple times each.  Morris was awarded a Fellowship from The New York Foundation for the Arts in Music Composition.  Her original music has been heard on countless underscores of Scholastic Audio Books for children as well as in several Off-Broadway plays, including “Tallahassee” and “By Oscar Micheaux”.  Her voice is the instrument that has garnered her the most exposure: She was the early singular voice behind “Nationwide Is On Your Side” commercial and is the solo wail heard at the opening theme for the popular CBS TV show, “Cold Case”.  With jazz, rock, classical, theatrical and folk influences, the jazz singer combined with her uncanny piano chops, Morris’ singular sense of melody and harmony become apparent on first listen. http://elisemorris.com/about/

Dancin'with the Boys

Wednesday, June 17, 2020

Aimee Nolte - Looking for the Answers

Styles: Vocal, Piano, Post Bop
Year: 2019
File: MP3@320K/s
Time: 53:33
Size: 123,8 MB
Art: Front

(4:15)  1. The Loveliest Girl
(6:57)  2. Looking for the Answers
(4:57)  3. Falling Snow
(4:44)  4. This One Hurts
(4:45)  5. I Gotta Get
(4:50)  6. Save Me One Last Time
(7:13)  7. Bye Bye Blackbird
(4:51)  8. All Too Soon
(3:41)  9. So in Love
(4:45) 10. You Should've
(2:31) 11. For a While

LA Singer and pianist, Aimee Nolte's new album, “Looking For The Answers”, featuring her quartet (Mike Scott - Guitar, Bruce Lett - Bass, and James Yoshizawa - Drums), is Aimee’s third and most explorative album.

The answers Nolte is searching for are easily discovered and possibilities opened up as she made the decision to unbridle herself from the reigns of "jazz" and compose and play whatever moved her deeply.  With solo numbers, driving latin grooves, intimate duets and elements of folk and popular music, Aimee has indeed, found the answers she set out to find, all-the-while, taking the listener with her. Bassist, John Clayton joins Nolte in a mind-blowing duet, dancing a dance of shared improvisation, and intense awareness. Aimee is not only a talented jazz performer, but she has penned, arranged, and produced most of the new songs from the album. In addition to her original compositions,  jazz standards, such as Duke Ellington’s “All Too Soon” and Cole Porter’s “So In Love" add familiarity and a sense of history to the album. You'll experience exciting, soulful improvisations, beautiful and haunting new melodies, and lyrics that will take you by surprise and remind you of why you love life and music. https://www.aimeenolte.com/recordings/looking-for-the-answers

Personnel: Aimee Nolte vocals, piano, organ, synth bass; John Clayton bass (7); Bruce Lett bass (1, 2, 3, 5, 10); James Yoshizawa drums ; Mike Scott guitar (2, 3, 5, 10); Jason Neubauer guitar (1); Doug Webb woodwinds (1); John Reilly woodwinds (6)

Looking for the Answers

Klaus Doldinger - Blind Date (Back In New York)

Styles: Saxophone Jazz 
Year: 1999
File: MP3@320K/s
Time: 55:31
Size: 128,8 MB
Art: Front

(5:22)  1. Friendship
(5:26)  2. Blue Circle
(6:30)  3. Here to Be
(4:59)  4. East River Drive
(4:51)  5. September Song
(5:26)  6. Hasta manana
(6:20)  7. What's New ?
(6:19)  8. Blind Date
(4:37)  9. Erinnerung
(5:36) 10. Stop and Go

Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and '80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty. However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section. In addition to writing music for films (including Das Boot) and television in Europe, Doldinger has remained active as a player who occasionally explores his roots in hard bop into the late '90s, but because he has always lived in Europe, he remains underrated in the U.S.~ Scott Yanow https://www.allmusic.com/artist/klaus-doldinger-mn0000101962/biography

Personnel: Tenor Saxophone [Tenor Sax], Soprano Saxophone [Soprano Sax] – Klaus Doldinger ; Bass – Ira Coleman; Drums – Victor Lewis; Featuring [Also Featuring], Percussion – Don Ernesto (tracks: 6, 8); Featuring [Also Featuring], Vibraphone [Vibraharp] – Stefon Harris (tracks: 4, 6, 7); Guitar – Peter Bernstein (tracks: 2, 4, 6, 8, 10); Piano – Kevin Hays

Blind Date (Back In New York)

Tuesday, June 16, 2020

Yoko Miwa - In the Mist of Time

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 59:30
Size: 138,0 MB
Art: Front

(5:48)  1. Fragmented Memories
(9:14)  2. The Deep End
(4:55)  3. I'm Okay
(8:07)  4. Alice
(7:51)  5. In the Mist of Time
(8:12)  6. When will 'it' Happen
(6:48)  7. Promise
(5:26)  8. Oak Square Blues
(3:05)  9. Red Dragonfly

An internationally recognized jazz pianist, Yoko Miwa plays with a lyrical, yet still harmonically sophisticated style, deeply rooted in the acoustic post-bop tradition. She first gained wider attention after moving to Boston in the late '90s, and backing artists like Kevin Mahogany, George Garzone, Jerry Bergonzi, and others. Influenced by players like Bill Evans, Oscar Peterson, and Herbie Hancock, she has issued a handful of warmly rendered trio albums, including 2004's Fadeless Flower, 2017's Pathways, and 2019's Keep Talkin'. Born in 1970 in Kobe, Japan, Miwa started out early on the piano taking classical lessons (as well as voice lessons) from age four. After high school, she attended the Osaka College of Music where she first met and studied with jazz organist/pianist Minoru Ozone, father of noted pianist Makoto Ozone. Under Ozone's guidance she became increasingly interested in jazz and gained valuable experience working at his Kobe-based nightclub and music school. After the 1995 Kobe earthquake destroyed Ozone's establishments, Miwa enrolled at Japan's Koyo Conservatory of Music where she focused full-time on jazz. The following year, she won a scholarship to Boston's prestigious Berklee College of Music. While at Berklee, she studied jazz theory and performance, and developed a lasting creative partnership with vocalist and teacher Kevin Mahogany.

Upon graduating college in 1999, Miwa joined the Berklee faculty and continued to work alongside Mahogany (until his death in 2017). She also began playing locally, leading her own trio and working as the pianist in the house band at Cambridge's Ryles Jazz Club. Her first album as a leader, In the Mist of Time, was released in Japan on the Tokuma label in 2001. It found her working with drummer Scott Goulding, bassist Massimo Biolcati, and tenor saxophonist Tim Mayer. Her second album, 2003's Fadeless Flower, found her paring down to a trio with Goulding and bassist Greg Loughman. Along with studio sessions, Miwa has kept a busy live schedule, appearing regularly at festivals and New York's Blue Note Jazz Club. She has performed with an array of luminaries, including George Garzone, Sheila Jordan, Jerry Bergonzi, Esperanza Spalding, Terri Lyne Carrington, and others. In 2005, she released another trio effort, Canopy of Stars, which again found her working with Goulding, as well as bassists Biolcati and Bronislaw Suchanek. The concert album Live at Scullers Jazz Club appeared in 2011, followed in 2017 by the studio effort Pathways. In 2019, she was named the Boston Music Awards Jazz Artist of the Year, as well as the Boston Phoenix Best Music Poll winner. She issued her fifth trio album, Keep Talkin', the same year. ~ Matt Collar https://www.allmusic.com/artist/yoko-miwa-mn0000540283/biography

Personnel: Piano – Yoko Miwa; Bass – Massimo Biolcati ; Drums – Scott Goulding;  Tenor Saxophone – Tim Mayer (tracks: 2, 6, 8)

In the Mist of Time

Ralph Marterie - Music for a Private Eye


Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 26:11
Size: 61,0 MB
Art: Front

(2:52)  1. M Squad
(3:03)  2. Perry Mason
(1:43)  3. Richard diamond
(2:36)  4. Alfred Hitchcock Presents
(1:52)  5. Thin Man
(2:44)  6. 77 Sunset Strip
(3:30)  7. Private Eyeball
(2:03)  8. The D.A.'s Man
(3:15)  9. Riff Blues
(2:30) 10. Peter Gunn

If you haven’t been collecting Fresh Sound Records’ series of soundtracks from B movies and TV shows from the 50s and 60s, you’re missing out on some of the hippest and swingingest sounds to ever filter through your malleus, incus and stapes.This single disc has Ralph Marterie and his All Star Men, which includes Buddy DeFranco/cl, Pete Candoli/tp, Bud Shank/as, Bob Cooper/ts, Jimmy Rowles/p, Al Viola/g, Frank Rosolino/tb and Gus BIvona/ts for starters, and the team is conducted by Pete Rugulo, with arrangements by Rugulo, Johnny Mandel, Bill Holman and other studio studs.The Music for A Private Eye includes music made for Bass Weejuns; themes from “ M Squad”, “Perry Mason”, “77 Sunset Street” and, of course “Peter Gunn” mix Basie-like velvety saxes and irresistibly swinging rhythm. There’s a second album, Big Band Man, and it’s from the same date with an almost exact same band. These guys hit like a heavyweight on pieces like “Diga Diga Doo” while getting as smooth as silk on “Where Are You” and “Don’t Blame Me.” This material sounds amazingly fresh and alive; all of the charts have more angles than an English garden and the solos are concise with lots to say. When did big band music start becoming sterile? It was some time after this one! https://www.jazzweekly.com/2016/12/trench-coat-not-includedralph-marterie-music-for-a-private-eye/

Personnel: Ray Linn-trumpet; Uan Rasey-trumpet;Don Fagerquist-trumpet;Joe Triscari-trumpet;  Frank Rosolino-trombone;  Bob Fitzpatrick- trombone; Tommy Pederson-trombone;George Roberts-bass trombone; Frank Rosolino-alto saxophone; Paul Horn-alto saxophone;  Bob Cooper-tenor saxophone; Gus Bivona-tenor saxophone;  Dale Issenhuth-baritone saxophone;  Jimmy Rowles-piano;  Al Viola-guitar;  Joe Mondragon-bass; Irv Kluger-drums.

Music for a Private Eye

Monday, June 15, 2020

Bill Evans - The Alternative Man

Styles: Saxophone Jazz 
Year: 1987
File: MP3@320K/s
Time: 48:51
Size: 113,1 MB
Art: Front

(5:45)  1. The Alternative Man
(4:37)  2. The Path Of Least Resistance
(5:40)  3. Let The Juice Loose
(4:31)  4. Gardiners Garden
(3:24)  5. Survival Of The Fittest
(6:21)  6. Jojo
(5:41)  7. The Cry In Her Eyes
(5:24)  8. Miles Away
(7:23)  9. Flight Of The Falcon

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man  an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon."~ Alex Henderson https://www.allmusic.com/album/the-alternative-man-mw0000191774

Tracks 5 & 9: Bill Evans - tenor & soprano saxes; Clifford Carter - keyboards; Michell Forman - piano; John McLaughlin - guitar; Mark Egan - bass; Danny Gottlieb - drums; Manolo Badrena - percussion, space tines

Other players include: Hiram Bullock - guitar; Marcus Miller - bass; Al Foster - drums

The Alternative Man

Sunday, June 14, 2020

Maysa - A Woman In Love

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 47:10
Size: 108,9 MB
Art: Front

(4:01)  1. Am I Wrong (For Lovin' You?)
(3:43)  2. Love Theory (ft. Will Downing)
(4:34)  3. Round Midnight
(4:04)  4. Spend Some Time
(5:21)  5. What Are You Doing The Rest Of Your Life?
(3:58)  6. A Woman In Love
(4:45)  7. The Lady In My Life
(4:37)  8. Willow Weep For Me
(4:03)  9. Honey Bee
(5:12) 10. I Put A Spell On You
(2:46) 11. When I Fall In Love

Maysa is, without a doubt, one of the finest soul/jazz vocalists of the past 15 years. "A Woman In Love" has Maysa breaking new ground. For the first time on CD, Maysa embraces some of the great jazz repertoire made famous by such greats as Billie Holiday, Nina Simone, Ella Fitzgerald and more, while still maintaining that unique, soulful Maysa magic. Like such artists as Diana Krall, Cassandra Wilson and Melody Gardot, Maysa is bringing a new fresh sound to the world of jazz! ~ Editorial Reviews https://www.amazon.com/Woman-Love-MAYSA/dp/B002XZF956

Vocalist Maysa has the kind of soulful and husky vocals that allow her to travel seamlessly between genres. She’s amassed an underground-soul rep with the British funk-jazz band Incognito and built a following among smooth-jazz folk by guest-starring on projects by Rick Braun and Jonathan Butler, among others. She’s also recorded original R&B CDs and a couple of exquisite soul-oriented cover projects. But Maysa now hits her stride with A Woman in Love, which reflects her background and love of jazz (she named her son after the genre). This is a CD you knew was coming. She doesn’t totally discard her R&B leanings, but the best tracks here are the classics where her jazz training is reflected in tone and phrasing. “Willow Weep for Me,” “‘Round Midnight,” “What Are You Doing the Rest of Your Life?,” “When I Fall in Love” and “I Put a Spell on You” precisely combine jazz reverence and Maysa’s R&B leanings.Working with producer and writer Chris “Big Dog” Davis, Maysa also crafts her own jazz magic on the original “Am I Wrong (for Lovin’ You?),” a samba tune showcasing the singer’s scatting. Elsewhere, Will Downing joins her for the scorching ballad “Love Theory,” and Maysa pays tribute to the late Michael Jackson with “The Lady in My Life.”~ Brian Soergel https://jazztimes.com/reviews/albums/maysa-a-woman-in-love/

A Woman In Love

Dave Pike, Cedar Walton Trio - Pike's Groove

Styles: Vibraphone And Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 51:32
Size: 119,2 MB
Art: Front

(4:11)  1. Big Foot
(5:47)  2. Spring Can Really Hang You Up The Most
(3:41)  3. You Are My Everything
(6:31)  4. Ornithology
(6:47)  5. Con Alma
(8:26)  6. Reflections In Blue
(6:04)  7. Birk's Works
(5:29)  8. You Are My Everything
(4:32)  9. Big Foot (take 4)

Vibraphonist Dave Pike has recorded in a variety of settings through the years. His Criss Cross date is one of his finest straight-ahead outings, a quartet session with pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Pike's style is somewhere between Milt Jackson and Bobby Hutcherson, while sounding fairly distinctive, and he is heard in top form on such numbers as "Big Foot," "Ornithology," and his own "Reflections in Blue." Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/pikes-groove-mw0000094788

Personnel: Vibraphone – Dave Pike; Piano – Cedar Walton; Bass – David Williams ; Drums – Billy Higgins

Pike's Groove

Saturday, June 13, 2020

Dave Holland Quintet - Prime Directive

Styles: Jazz, Post Bop   
Year: 2000
File: MP3@320K/s
Time: 75:59
Size: 175,3 MB
Art: Front

( 7:42)  1. Prime Directive
(13:15)  2. Looking Up
( 6:23)  3. Make Believe
(11:18)  4. A Searching Spirit
( 6:44)  5. High Wire
( 8:11)  6. Jugglers Parade
( 4:45)  7. Candlelight Vigil
(13:49)  8. Wonders Never Cease
( 3:48)  9. Down Time

You may have to wait a while between Dave Holland-led releases, but it's always worth it. Tremendous taste prevents Holland from making unsatisfying music. He is a great leader in the truest senses of the word  he gives his team space, trusts their abilities and judgment, yet all the while remains firmly in command and infuses the results with his own style and personality. Prime Directive is a wonderful jazz album. These 77 minutes and nine tracks do not cheat or disappoint. The straight-ahead tunes composed by double-bassist Holland and his talented band mates (one each) all bear Holland's distinctive rhythmic patterns and harmonics. A fine example is the title track, on which Robin Eubanks on trombone and Chris Potter on saxophones hold a stimulating musical conversation over the rhythm section's driving groove. For listeners who prefer a more deliberate pace, there's the searching, contemplative "Make Believe," with Steve Nelson's lovely vibraphone work appointing the mood. On the hopeful, "A Seeking Spirit," fans will be tapping along to the rhythmic feast offered up by the leader and his pace-setting partner Billy Kilson on drums. The melancholy "Candlelight Vigil" presents Holland at his bowed best. Finally, "Wonders Never Cease" finds the entire band at the height of their collective, improvisational prowess. Prime Directive is recommended; a great leader is, indeed, hard to find.~ Brian Bartolini https://www.allmusic.com/album/prime-directive-mw0000604627

Prime Directive

Ralph Marterie & His Orchestra - The Best Of Ralph Marterie: The Mercury Years

Styles: Easy Listening
Year: 1955
File: MP3@320K/s
Time: 65:13
Size: 149,5 MB
Art: Front

(2:21)  1. A Trumpeteer's Lullaby
(2:36)  2. Pretend
(2:48)  3. Caravan
(2:57)  4. Warsaw Concerto
(2:19)  5. The Creep
(2:51)  6. Skokiaan
(2:57)  7. Blue Mirage (Don't Go)
(2:07)  8. Peanut Vendor
(2:17)  9. O mio babbino caro
(2:46) 10. Dry Marterie
(3:00) 11. Sleepy Lagoon
(2:30) 12. Lovers Serenade
(2:18) 13. One Fine Day
(3:06) 14. Bumble Boogie
(2:33) 15. John And Julie
(2:21) 16. Laura
(2:55) 17. In A Persian Market
(2:26) 18. Melancholy Rhapsody
(2:06) 19. Lullaby Of Birdland
(2:26) 20. Guaglione (Little Boy)
(2:56) 21. Autumn In New York
(2:36) 22. Tricky
(2:34) 23. Shish-Kebab
(2:27) 24. Dancing Trumpet
(2:47) 25. Carla

One of the last big-band leaders to enjoy consistent commercial success, trumpeter Ralph Marterie had a number of hits for Mercury in the early and mid-'50s. While he could play swing when the occasion was suitable, Marterie was not, nor did he pretend to be, a jazzman. Artistic statements were not on the agenda he played a wide variety of instrumental orchestral pop that mainstream listeners wanted to hear. Next to him, Glenn Miller sounded downright tough. To subsequent generations, that means that Marterie's hits sound much like the kind of music churned out by television orchestras in the '50s. There's always been a market for music that aspires to do nothing more than entertain, though, and Marterie certainly was willing and able to do what was necessary to deliver the goods on that score. Lush pop ballads, some Italian pop, and Middle Eastern influences, novelties, swing, even a rock & roll cover Marterie had success with all of these approaches. 

Emigrating from Italy to Chicago as a young boy, Marterie began playing professionally in his teens. Through the 1930s and '40s he took a lot of radio work, sometimes as a member of the NBC orchestra, where he played with conductors like Percy Faith and André Kostelanetz. Signed to Mercury in 1949, he not only recorded for that label as an artist, but led studio bands that backed such Mercury acts as Vic Damone and the Crew Cuts. Between 1952 and 1957 he had a number of big singles; "Pretend," a cover of Duke Ellington's "Caravan," and "Skokiaan" all made the Top Ten.

Much of his material was precisely the kind of innocuous pop instrumental that rock & roll blew out of the water, yet Marterie was one of the first mainstream musicians to cover a rock & roll song. His cover of Bill Haley's "Crazy Man Crazy" (itself one of the first rock & roll records to make the Top 20) made number 13 in 1953. Earlier, Marterie actually had a small hit with a cover of a Woody Guthrie tune, "So Long (It's Been Good to Know Ya)."

Isolated sides like "Bumble Boogie" proved that he could swing respectably when the mood took him, but Marterie generally stuck to a placid groove, despite the presence of electric guitar on sides like "Caravan." As rock & roll gained steam, the trumpeter actually added some basic R&B motifs on "Tricky" in 1957, resulting in a Top 30 hit; the same year, "Shish-Kebab," with its twangy pre-surf guitar lines and snake charmer melody, gave him his last Top Ten hit.~ Richie Unterberger https://www.allmusic.com/artist/ralph-marterie-mn0000869027

The Best Of Ralph Marterie: The Mercury Years

Friday, June 12, 2020

Aimee Nolte - Lighten Up

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 51:18
Size: 118,8 MB
Art: Front

(5:18)  1. Brandy (You're a Fine Girl)
(5:24)  2. All the Things You Are
(4:28)  3. Where or When
(9:04)  4. If I Should Lose You
(5:01)  5. Moon River
(6:49)  6. Moonlight
(5:10)  7. Skylark
(4:55)  8. Old Devil Moon
(5:06)  9. Ella's Song

Aimee Nolte’s fourth album, Lighten Up, released on April 24, 2020 does exactly what the title suggests, which is to lighten the mood, brighten your day, and illuminate possibilities within songs that are already widely known and loved. "It’s a return to what I’m most at-home doing; playing songs that I know like the back of my hand with people who inspire me.”  Aimee’s refreshing new arrangements are brought to life with the help of band mates, Mike Scott, James Yoshizawa, and Bruce Lett, who comprise The Aimee Nolte quartet. Let the soulful singing, stellar piano solos, brilliant interplay and excitement of spontaneous creation take you for a ride as you listen to Lighten Up. https://www.aimeenolte.com/recordings/lighten-up

Lighten Up