Lisa Bassenge - Mothers

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 58:55
Size: 136,3 MB
Art: Front

(3:42) 1. Joanne
(3:09) 2. Freight Train
(5:44) 3. Some Other Spring
(4:16) 4. Thin Man
(4:54) 5. Why
(4:12) 6. Don't Come Home A-Drinkin'
(5:58) 7. Woodstock
(4:47) 8. All the Good Girls Go to Hell
(4:26) 9. Home Again
(5:59) 10. At Seventeen
(4:31) 11. Dancing on My Own
(7:12) 12. Song to a Seagull - Live

Lisa Bassenge has called her new album "Mothers". It is a tribute to the mothers of popular music. To women who have created something unique in a creative process. "Both now and in the past, there are so many great works by women," says Bassenge. "It was important to me to emphasize that with my album and to shine the light on all these strong women."

At first glance, the composers Bassenge has chosen could hardly be more different - from hippie icon Joni Mitchell to Eurythmics singer Annie Lennox and pop phenomenon Billie Eilish. And yet they have much in common. "Many songs tell of a moment of self-empowerment for these women - and the success that followed. That's something that touched me very much, because women often don't have the confidence to do such things and think they need encouragement from outside," explains Bassenge. "When I started singing as a teenager, I also often heard 'women can't make music'. In general, we have made a lot of progress in recent years, but we still have a long way to go before women get the recognition they deserve."

Lisa Bassenge not only covers the twelve pieces, she makes them her own - with her changeable, soulful voice and the gentle jazz instrumentation. As on her previous album "Borrowed and Blue" she recorded "Mothers" with swedish pianist Jacob Karlzon and danish bass player Andreas Lang. https://herzogrecords.bandcamp.com/album/mothers

Personnel: Lisa Bassenge (vocals); Jacob Karlzon (piano); Andreas Lang (bass)

Mothers

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Lambert, Hendricks & Ross - Home Cookin'

Styles: Vocal
File: MP3@320K/s
Time: 39:30
Size: 92,0 MB
Art: Front

(4:26) 1. Home Cookin'
(2:18) 2. Halloween Spooks
(4:47) 3. Popity Pop
(3:52) 4. Blue
(3:17) 5. Mr P.C.
(5:27) 6. Come on Home
(3:05) 7. The New ABC
(2:33) 8. Farmer's Market
(3:06) 9. Cookin' at the Continental
(2:50) 10. With Malice Towards None
(3:45) 11. Hi-Fly

The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like "Summertime," "Moanin'," and "Twisted," and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.

The act grew out of apartment jam sessions by Lambert, a pioneering arranger and bop vocalist who had appeared in groups led by Gene Krupa and Buddy Stewart though he had also gained infamy leading a vocal choir on the disastrous "Charlie Parker with Voices" session recorded for Clef in 1953. That same year, Lambert met Jon Hendricks, who had similar vocal specialties that extended to lyrical changes. The pair debuted with a radically reworked version of "Four Brothers," which featured lyrics by Hendricks and note-for-note duplications of the original solos by Al Cohn, Zoot Sims, Stan Getz, and Woody Herman. They recorded a few other sides but were unsuccessful until a chance meeting with solo vocalist Annie Ross hit paydirt.

The first LP by Lambert, Hendricks & Ross was 1957's Sing a Song of Basie. Though the trio originally intended to hire a complete vocal choir to supplement their voices, the general incompetence of the studio voices led them to multitrack their own voices. The results were excellent, incredible vocal re-creations of complete solos from Basie classics like "One O'Clock Jump," "Down for Double," and "Avenue C" with added lyrics by Hendricks. The next year's follow-up, Sing Along with Basie, featured the bandleader himself and his group in a supporting role. Perhaps realizing that multi-tracking was a bit of a gimmick, Lambert, Hendricks & Ross then recruited a straight rhythm trio and began touring and recording that way. The first studio effort, 1959's The Swingers!, represented a leap in quality and musicianship, leading to a contract with Columbia later that year. The trio recorded three albums for the label during the next two years, including a tribute to Duke Ellington.

All three had pursued separate solo projects during the trio's run. After constant touring began to wear her out, Ross left the group in 1962. Lambert and Hendricks replaced her with Yolande Bavan, and continued recording for RCA. However, it was nearly impossible to replace a soloist of Ross' caliber, and the three albums Lambert, Hendricks & Bavan recorded between 1962 and 1964 were decidedly below par. The group broke up in 1964, and Lambert's death in a traffic accident just two years later quashed any hopes of a reunion. Both Hendricks and Ross continued to perform and record, with Ross doing much theater and film work as well.~ John Bush https://www.allmusic.com/artist/lambert-hendricks-ross-mn0000106987/biography

Home Cookin'

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Johnny Griffin - Johnny Griffin

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 26:05
Size: 60,0 MB
Art: Front

(3:35) 1. I Cried For You
(3:03) 2. Satin Wrap
(2:29) 3. Yesterdays
(3:09) 4. Riff-Raff
(3:51) 5. Bee-
(3:17) 6. The Boy Next Door
(3:33) 7. These Foolish
(3:05) 8. Lollypop

Instead there are more formalist notions that suggest Paul Gonsalves and Coleman Hawkins. In addition, the album-closer, "Lollypop," comes out swinging hard with an R&B hook that digs in. Mance propels Griffin with fat, greasy chords that suggest a Chicago bar-walking honk frenzy, but Griffin's own playing is too sophisticated and glides like Lester Young around the changes. Also notable here is Ware's beautiful bop run "Riff Raff."

The bassist knew not only how to write for but arrange for horns. Mance and Griffin are in it knee-deep, note for note, with Mance adding beefy left-hand clusters to the melody as Ware and Smith play it straight time until the solo, when the middle breaks up and everybody goes in a different direction. It's got the hard bop blues at its root. This recording is brief, as it originally came out on a 10" LP, but is nonetheless a necessary addition to any shelf that pays Johnny Griffin homage.~ Thom Jurek https://www.allmusic.com/album/johnny-griffin-mw0000461284

Personnel: Johnny Griffin – tenor saxophone; Junior Mance – piano; Wilbur Ware – bass; Buddy Smith – drums

Johnny Griffin

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Frank Kohl - Invisible Man

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 50:29
Size: 116,1 MB
Art: Front

(6:07) 1. Invisible Man
(5:13) 2. In Your Arms
(6:15) 3. Born Again
(6:21) 4. Falling Sky
(7:48) 5. My Funny Valentine
(5:29) 6. Round About
(4:44) 7. My One and Only Love
(8:28) 8. Alone Together

Guitarist Kohl's third release as a leader, 2015's Invisible Man, features the New York bassist Steve LaSpina, whom Kohl first heard perform with guitar master Jim Hall. The music is a tight east coast sound, with many originals by Kohl. Elegant in simplicity, eschewing the thicker layers of many jazz presentations, this recording is to the point and floats along nicely. Kohl says "May we all believe in ourselves and not be deterred by the obstacles we face, I dedicate my music to that invisible part in all of us."~ Opiniones editoriales https://www.amazon.com/Invisible-Man-Frank-Kohl-Quartet/dp/B00U0FJLO6

Personnel: Frank Kohl-Guitar; Steve LaSpina-Bass; Tom Kohl-Piano; Jon Doty-Drums

Invisible Man

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Melody Gardot - Sunset In The Blue (Deluxe Version)

Styles: Vocal
File: MP3@320K/s
Time: 78:39
Size: 182,2 MB
Art: Front

(4:34) 1. If You Love Me
(4:52) 2. C’est Magnifique
(5:48) 3. There Where He Lives In Me
(3:57) 4. Love Song
(6:04) 5. You Won't Forget Me
(4:33) 6. Sunset In The Blue
(4:05) 7. Um Beijo
(3:37) 8. Ninguém, Ninguém
(4:48) 9. From Paris With Love - Single Version
(4:26) 10. Ave Maria
(3:47) 11. Moon River
(3:04) 12. I Fall In Love Too Easily
(2:42) 13. Little Something
(4:21) 14. From Paris With Love - Acoustic
(5:25) 15. Love Song
(4:06) 16. Trav'lin' Light
(3:27) 17. What Is This Thing Called Love
(4:54) 18. C'est Magnifique - Live In Namouche Studios

Melody Gardot emerged from her own smoky shadows of the mid-2000s as if she were some femme fatale emanating from a film noir movie. The plot twist was that she was the good girl, but it was her body that had been damaged in an auto accident. An extensive recovery followed. Her long, lean cane only reinforced her long, lean looks. The shades added just a touch of mystery. If there was anything positive, it was that she confronted the challenges and drew on them as a source of inspiration for some of her songs. Gardot's debut disc contained ten compact, yet gripping, originals and the sophomore release was a compelling and seamless second chapter. Taking elements of Julie London's sultry purr and Sade's sophisticated snap, Gardot nonetheless charted her own original course. Even more great music followed over the next decade.

On Sunset in the Blue, Gardot is pensive but patient and often soothing. Gliding up to the microphone, she is cautious and intimate as she beckons the lush strings to support the album's opener, "If You Love Me." Her vulnerable voice continues to lightly float on many of the songs including the second selection, "C'est Magnifique" (featuring guest Portuguese Fado singer Antonio Zambujo). Later, the lyrics of "You Won't Forget Me" proclaim that her former beau "won't forget me / on nights like this / The moon will cast / Upon you the shadow of my kiss" but her emotions reveal the truth she will never be able to forget him. Moments later, she delivers "From Paris With Love," a romantic postcard from France. Gardot's cool lyrics reveal "Lovers tucked into a quiet café / Sat beneath a shade of red / They fall in love like fallin' out of bed." Undoubtedly, Bogart and Bergman are sitting just a table or two away.

As the album draws to a close, Gardot presents a pair of American Standards, "Moon River" and "I Fall in Love Too Easily," before treating us to a final bonus song featuring guest artist Sting. Gentle, supportive guitars weave in and out of the album while understated trumpets and saxophones appear sparingly. When they do appear, they are welcome additions that make rich contributions.

One of Gardot's strengths on Sunset in the Blue is that more than half of the songs are originals, almost as if she were crafting a modernized set of American Standards. "From Paris With Love" could certainly be added to that prestigious list. If there is a weakness, it is the lack of musical variety as you find yourself hoping for surprise twists. Ironically, she gives us almost too much of a good thing. Regardless, find your own corner table, order a vintage French Bordeaux and listen as Sunset in the Blue gently unfolds.~ Scott Gudell https://www.allaboutjazz.com/sunset-in-the-blue-melody-gardot-verve-records

Personnel: Melody Gardot: voice / vocals; Antonio Zambujo: voice / vocals; Till Bronner: trumpet; Donny McCaslin: saxophone,tenor; Anthony Wilson: guitar; Dadi Carvalho: guitar; Nando Duarte: guitar, acoustic; Larry Klein: guitar, acoustic; Philippe Baden Powell: piano; Sam Minaie: bass; John Leftwich: bass, acoustic; Chuck Berghofer: bass, acoustic; Chuck Staab: drums; Vinnie Colaiuta: drums; Paulinho Da Costa: percussion.

Sunset In The Blue (Deluxe Version)

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David Binney - Aliso

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 73:21
Size: 168,5 MB
Art: Front

( 7:57)  1. Aliso
( 7:56)  2. A Day In Music
( 8:53)  3. Toy Tune
( 9:16)  4. Strata
( 5:01)  5. Teru
( 6:30)  6. Fuchsia Swing Song
( 5:59)  7. Bar Life
( 7:46)  8. Think Of One
(13:59)  9. Africa

In a career now in its third decade, alto saxophonist David Binney's greatest accomplishment, despite being a player of no small worth, has been as a composer whose often knottily idiosyncratic tunes manage to remain not just accessible, but deeply compelling. From the earliest days of Lost Tribe through to last year's outstanding Third Occasion, Binney's distinctive compositional style has become a touchstone for players on the New York scene and beyond. It's not that he can't play directly in the tradition his own work couldn't come from anyplace but he just generally chooses not to. While past albums, including 2005's Bastion of Sanity (Criss Cross), have occasionally included songs from the standards repertoire, the saxophonist has never before released an album like Aliso, where five of its nine tracks are not Binney originals, taking up well over half of its 73-minute running time.  A function of its participants being unable to convene until the night before the recording, Aliso could be considered a tad schizophrenic. Binney's tunes are not exactly more direct, but they are less complex, encouraging even greater emphasis on blowing; a nice dovetail with music from Wayne Shorter, Thelonious Monk, Sam Rivers and John Coltrane. With a largely fixed quintet (only the piano chair is shared, between John Escreet and the more prevalent Jacob Sacks), Binney demonstrates his considerable alto prowess with both dark balladry and elegant swing (Shorter's "Teru" and "Toy Tune," respectively). 

He also shows a lesser-known ability to rip through changes coming fast and furious, on a burning take of Rivers' "Fuchsia Swing Song." The rest of the band also capably handles Binney's modern approach to the mainstream, especially bassist Eivind Opsvik and drummer Dan Weiss, who are rarely heard in straight-ahead settings. But for those jonesing for more of the Binney they've come to know and love, the saxophonist's four compositions more than do the trick. Guitarist Wayne Krantz last heard on a Binney album in 2002 (Balance, on ACT) and whose Krantz Carlock Lefebvre (Abstract Logix) was a 2009 fusion milestone sits out on most of the standards, but his contribution to the rest of Aliso is purposeful; uncanny in its ability to push and pull time, harmony and melody, all with a slightly gritty tone and idiosyncratic turn of phrase. Whether it's the more visceral groove of the title track which also features one of Binney's most effervescent solos of the set the more temporally elastic "A Day in Music" or metrically challenged "Bar Life," Krantz's inimitable playing supports Binney's assertion, "Wayne is one of my favorite musicians ever."  Krantz does join on a pedal-to-the-metal version of Coltrane's modal masterpiece, "Africa" the cover tune that aesthetically fits best with Binney's own writing, despite its inherent compositional simplicity. 

There's nothing wrong with being a little schizophrenic; not, at least, when the result is as unmistakably fine as Aliso an anomaly in Binney's discography, perhaps, but one that still remains a significant marker in his overall body of work. ~ John Kelman https://www.allaboutjazz.com/aliso-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Wayne Krantz: guitar; Jacob Sacks: piano (2-6, 8); John Escreet: piano (1, 7, 9); Eivind Opsvik: bass; Dan Weiss: drums.

Aliso

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Georgia Mancio - Silhouette

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 55:07
Size: 127,3 MB
Art: Front

(5:54) 1. Sihouette
(5:09) 2. Question the Answer
(5:00) 3. Solace
(5:11) 4. Take It With Me
(5:29) 5. Just in Time
(5:48) 6. Slowly
(5:24) 7. TransOceanica
(5:10) 8. Modinha
(4:46) 9. Slice
(4:43) 10. Finisterre
(2:27) 11. Sihouette 2

Georgia Mancio celebrates 10 years as a professional jazz singer with Silhouette, her third album. The mix of standards and original compositions, delivered in Mancio's light but distinctive voice, and accompanied by some of the finest musicians on the British jazz scene, is a genuine cause for such celebration. Silhouette is innovative, lyrically inventive, risky at times and always rewarding.

Mancio's vocal delivery is reminiscent of Anita O'Day's; her enunciation is clear and precise but there is a lightness in the delivery that is immediately enticing. On most of the original songs she acts as lyricist, while two of the album's three pianists take responsibility for the music Tim Lapthorn composed four songs while Kate Williams does the job on "Silhouette." Only one original song, "Finisterre," is written by Mancio alone. It's a strange, slightly threatening, first person tale on which Mancio is accompanied solely by Dave Ohm's percussion. "Silhouette" opens the album, with a sad tale of an old man reflecting on his life "like a dream half-remembered" that could be inspired by the plays of Samuel Beckett. The backing, especially Williams' piano and Julie Walkington's bass, is superb and sets the standard for the remaining songs. A fresh arrangement of "Silhouette" closes the album this time it's a wordless a capella duet between Mancio and Ian Shaw that adds even more mystery to the song.

"Question the Answer" is a quirky number that might best be described as "semi-original," wedding Mancio's lyrics to Pat Metheny's song of the same name. The arrangement, by Mancio and pianist John Pearce, features fine piano from Pearce and elegant flute from Gareth Lockrane, while the lyric challenges the cynicism of politics and religion, albeit a little disingenuously. The tune swings, and the overall feel is strongly reminiscent of songs featured on the satirical British '60s TV show That Was The Week That Was, as a musical commentary on current events. That program was both popular and controversial the singer was Millicent Martin, a stylish jazz vocalist who later found greater fame as Daphne's mother on the TV show Frazier.

Two covers merit special mention and ably demonstrate Mancio's risk-taking. On Tom Waits and Kathleen Brennan's "Take it With Me," Mancio delivers a beautiful and ultimately optimistic vocal, underpinned by sparse and empathic bass and cello from Walkington and Gregor Riddell. Mancio and Ohm's arrangement of "Just In Time" plays with the rhythm and tempo of the tune, creating shifts in mood and style but never failing to ensure that the tune swings from beginning to end. It's helped enormously by two more fine performances from Pearce and Lockrane, although Mancio's vocal would benefit from added bite in the faster passages.

Silhouette is a fine album, demonstrating what can be accomplished by singers when they are prepared to innovate and take risks. Mancio's performance often within arrangements that would expose any weakness puts her at the top of the ever-growing tree of jazz vocalists, and can only enhance her reputation.~ Bruce Lindsay https://www.allaboutjazz.com/silhouette-georgia-mancio-roomspin-records-review-by-bruce-lindsay.php

Personnel: Georgia Mancio: vocals; Julie Walkington: double-bass; Dave Ohm: drums, percussion; John Pearce: piano (2, 5, 8); Kate Williams: piano (1); Tim Lapthorn: piano (3, 6, 7, 9); Dave Colton: guitar (6); Gareth Lockrane: flute (1, 2, 5, 9); Gregor Riddell: cello (4, 7); Ian Shaw: vocals (7, 11).

Silhouette

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Kenny Burrell - The Artist Selects

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 75:14
Size: 173,1 MB
Art: Front

(4:59) 1. This Time The Dream's On Me - Remastered 2000
(6:05) 2. Delilah - Remastered 2000
(3:49) 3. But Not For Me - Remastered
(4:42) 4. Phinupi - Remastered
(4:46) 5. Love, Your Spell Is Everywhere
(7:59) 6. Scotch Blues - Remastered
(4:43) 7. Weaver Of Dreams - Remastered 2000
(9:35) 8. Swingin' - Remastered 1987
(5:25) 9. Chitlins Con Carne
(2:43) 10. Soul Lament - Remastered 1999/Rudy Van Gelder Edition
(4:01) 11. Midnight Blue - Remastered
(5:30) 12. These Foolish Things - 20 Bit Mastering; 1998 Digital Remaster
(6:02) 13. Hackensack - Remastered
(4:49) 14. Freedom

Taking a cue from ECM’s: rarum series, Blue Note has initiated their own The Artist Selects series, allowing living legends to hand-pick their own “best-of” compilations and even sequence them. The inaugural portion of the series, launched Oct. 4, features albums from guitarist Kenny Burrell (pictured), also saxophonist Lou Donaldson, trumpeter Freddie Hubbard and composer/arranger Gerald Wilson. The musicians cull their Blue Note releases, while Wilson selects from his Pacific Jazz recordings. Emphasizing the “artist selects” title, the liner notes contain first-person testimony from the artist of how the recordings came to be and how the process developed. By Katherine Silkaitis https://jazztimes.com/archives/blue-note-begins-artist-selects-series

Personnel: Guitar – Kenny Burrell (tracks: 1-14); Bass - Ben Tucker (tracks: 5,8,14), Major Holley (tracks: 9,11), Oscar Pettiford (tracks: 4), Paul Chambers (tracks: 1,2,7), Sam Jones (tracks: 6); Congas – Candido Camero (tracks: 1,2), Ray Barretto (tracks: 5,8,11,14); Drums – "Philly" Joe Jones (tracks: 12,13), Art Blakey (tracks: 6,8), Bill English (tracks: 5,9,11,14), Kenny Clarke (tracks: 1,2,7), Shadow Wilson (tracks: 4); Organ – Jimmy Smith (tracks: 13); Piano – Bobby Timmons (tracks: 8), Duke Jordan (tracks: 5), Herbie Hancock (tracks: 5,14), Tommy Flanagan (tracks: 1,2,4,7); Tenor Saxophone – Frank Foster (tracks: 4), Junior Cook (tracks: 5), Stanley Turrentine (tracks: 9,14), Tina Brooks (tracks: 5,8); Trumpet – Louis Smith (tracks: 6)

The Artist Selects

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Bobby Hutcherson - The Best Of The Blue Note Years

Styles: Vibraphone Jazz
Year: 2001
File: MP3@320K/s
Time: 69:14
Size: 159,1 MB
Art: Front

(3:33) 1. Blues Mind Matter
(5:10) 2. Little B's Poem
(8:05) 3. Bouquet
(6:16) 4. Ghetto Lights
(5:57) 5. Patterns
(4:44) 6. 'Til Then
(5:18) 7. Dave's Chant
(9:26) 8. Same Shame
(7:47) 9. Ummh
(6:25) 10. Houston St. Thursday Afternoon
(6:28) 11. Roses Poses

Quick. Name some jazz vibraphonists. Most of you would pick the legendary Lionel Hampton, who played in Benny Goodman's band, among others. Some of you would name Milt Jackson, who's one-fourth of the Modern Jazz Quartet. But what about Bobby Hutcherson?

Thumbing through some jazz history books, you might find a page or two mentioning his name in passing, which is a shame. Not many people can make the vibes swing or sing, and Hutcherson should be added to the list. The recently released Bobby Hutcherson: The Best of the Blue Note Years spans nearly a decade of recordings with the record label beginning in 1965. The liner notes includes some background information from Down Beat magazine correspondent Mitchell Feldman. Hutcherson glides through the 11 tracks from 11 different albums with the greatest of ease. His sidemen are no slouchers themselves, including pianists Herbie Hancock and Chick Corea, trumpeter Freddie Hubbard, saxophonists Sam Rivers and Harold Land, bassist Ron Carter, and drummers Billy Higgins and Joe Chambers.

On "Dave's Chant," it starts out with a Latin feel, but then jumps into cut-time swing, with Hutcherson playing a Charlie Parker-like solo on the vibes, paving the way for Land to take the solo reins. Hutcherson's mallets travel so fast along the vibes during "Patterns," one would wish a movie camera had been trained on him during the recording session in order to see the brilliance. He's also eager to branch into different genres, like on the funk-blues-injected "Ummh" or the Latin influence in "Rose Poses." But this collection doesn't merely showcase Hutcherson. In most cases, he backs off to let the other players shine. Listen to Hancock's amazing solos on "Little B's Poem" and "Bouquet," or Rivers' and Hubbard's solos on "Ghetto Lights." In all, it's a collection that features the best of this relatively unknown yet phenomenal vibraphonist. ~ Michael Fortuna https://www.allaboutjazz.com/the-best-of-the-blue-note-years-bobby-hutcherson-blue-note-records-review-by-michael-fortuna.php

Personnel: Bobby Hutcherson: vibes; Herbie Hancock: piano; Joe Henderson: alto saxophone; Freddie Hubbard: trumpet; Ron Carter: bass

The Best Of The Blue Note Years

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Topsy Chapman and The Pro's - My One and My Only Love

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 60:37
Size: 140,5 MB
Art: Front

(3:31) 1. If Dreams Come True
(4:40) 2. Just a Little While to Stay Here
(4:39) 3. I Still Get Jealous
(4:03) 4. Someday You'll Be Sorry
(4:01) 5. Mood Indigo
(6:27) 6. Somewhere Over the Rainbow
(5:18) 7. I Can't Give You Anything but Love
(3:47) 8. Bye Bye Blues
(5:22) 9. Do You Know What It Means to Miss New Orleans
(5:08) 10. Baby Won't You Please Come Home
(5:08) 11. My One and Only Love
(3:01) 12. Deacon Jones
(5:27) 13. Solitude

The delightful musical One Mo'Time introduced singer Topsy Chapman to admiring audiences around the world. The production, which is set in 1920s New Orleans, reached cult status in its run at the old Toulouse Theater in the French Quarter in the 1980s before being exported to New York and then to Europe. Much of the local cast traveled with the play and thus Chapman, long-considered a living treasure in New Orleans, received some well-deserved exposure before a larger audience.

Chapman, who grew up not far from New Orleans in Kentwood, LA, was raised in the gospel music tradition. That gospel-tinged fervor is evident in her voice today, as she sings with some of the top musicians in the city of New Orleans. She still makes appearances at some of the popular gospel brunch venues around the city, but she mostly lends her elegant style to groups such as the Magnolia Brass Band, the Jim Cullum Jazz Band, and the Lars Edegran Orchestra. She gigs with the best of the best at venues in the Crescent City at popular clubs such as Donna's, Snug Harbor, and the Palm Court, as well as at the New Orleans Jazz and Heritage Festival, and the Satchmo Summerfest.

Chapman's affinity for the music of Armstrong is captured on her 2001 CD My One and Only Love. Recorded as Topsy Chapman and the Pros, the record does feature some real pros, such as Lucien Barbarin, Don Suhor, and Duke Heitger. The singer is joined on vocals by her two daughters, Yolanda "Peb" Windsay and Jolynda "Kike" Phillips. Among the selections are Armstrong's "Someday You'll Be Sorry" and "I Still Get Jealous." Another excellent release is Jazz in New Orleans: The Nineties. Working with Brian Carrick and his New Orleans Heritage Band, Chapman has made an uplifting record of gospel tunes such as "In the Sweet By and By" and "Just a Closer Walk With Thee." Her work with the Magnolia Jazz Band can be heard on their 1994 eponymous release, featuring jazz standards and popular tunes.

The vocalist also appears on Cubanismo!'s 2000 CD Mardi Gras Mambo-Cubanismo! in New Orleans. Chapman really fits in the groove, especially on her danzon-style duet with John Boutté, "It Do Me Good." In 2002, Chapman was nominated for Best Female Jazz Vocalist in the prestigious Best of New Orleans Awards given by Gambit magazine. With several records out there, personal appearances, and glowing reviews in journals from Ebony to the New York Times, her star is shining brighter than ever.~ Rose of Sharon Witmer https://www.allmusic.com/artist/topsy-chapman-mn0000792037/biography

Personnel: Topsy Chapman vocals, Jolynda (Kike) Philips vocals, Yolanda "Peb" Windsay vocals, Duke Heitger trumpet, Lucien Barbarin trombone, Don Suhor clarinet + alto sax, Rickie Monie piano, Mark Brooks bass, Ocie Davis drums.

My One and My Only Love

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Stanley Cowell - Live at Keystone Korner Baltimore

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 165,3 MB
Art: Front

(12:39) 1. Cal Massey
( 6:49) 2. Charleston Rag
(11:59) 3. Montage For Toledo
( 4:51) 4. Equipoise
( 5:11) 5. It's Time
(12:14) 6. Banana Pudding
( 9:33) 7. No Illusions
( 8:33) 8. This Life

A real standout set from pianist Stanley Cowell one of his few dates in recent years to feature more than a trio lineup and recorded in a live setting that really seems to ignite some old school fires in Stanley's music! Make no mistake Cowell is always wonderful but there's a nice edge to his compositions here, as Stanley hits a bit harder, and drives things along to match the energy from the trumpet of Freddie Hendrix and alto of Bruce Williams who play in a lineup that also features Tom DiCarlo on bass and Vince Ector on drums.

Sunny Cowell performs a beautiful vocal version of the classic "Equipoise" maybe worth the price of the album alone and other tracks include "Cal Massey", "Montage For Toledo", "This Life", "Banana Pudding", "No Illusions", and a take on the Max Roach tune "It's Time". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/969232/Stanley-Cowell:Live-At-Keystone-Korner-Baltimore

Personnel: Piano – Stanley Cowell; Alto Saxophone – Bruce Williams ; Bass – Tom DiCarlo; Drums – Vincent Ector; Trumpet – Freddie Hendrix; Vocals – Sunny Cowell

Live at Keystone Korner Baltimore

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Frank Kohl - The Crossing

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 58:38
Size: 134,9 MB
Art: Front

(6:17) 1. The Crossing
(6:50) 2. O Grande Amour
(7:23) 3. The Masquerade Is Over
(5:06) 4. The Goodbye
(6:41) 5. Yesterday's
(9:17) 6. Middle of Nowhere
(6:11) 7. Sojourn
(5:28) 8. New Moon
(5:19) 9. Brigas Nuncas Mais

Guitarist Frank Kohl has consistently put forth meaningful and eminently well-conceived guitar releases. His latest album titled The Crossing presents a dual guitar and upright bass approach. Kohl from the Seattle Washington jazz scene has collaborated on several albums with bassist Steve LaSpina, the two are joined by guitarist John Stowell. The album is introspective and offers mature and seasoned performances by all. Kohl and Stowell have a unique bond with each guitarist being their own unique stylist, but both coming from the traditional Barney Kessel style of jazz guitar approach.

The Crossing is Kohl’s fifth leader album, filled with equity of original and comely standards the listener is treated to a trio that displays masterful collaboration, each taking on their role with panache and impeccable artistry. Kohl’s originals are filled with fresh ideas and composed with an inclination of the jazz guitar tradition.

His arrangements of tastefully chosen standards ring with promise atmospheric delight. For example, Antonio Carlos Jobim’s “O Grande Amour” is given a relaxed playthrough by the trio. LaSpina has a breezy bossa nova feel that both Kohl and Stowell embellish. Both have the rhythmic language of the bossa nova mastered in both their accompanying and single-note playing. It is interesting to hear how both guitarists approach the melody, Kohl plays the melody first, with Stowell performing it the last time. Each has their own unique way of bringing out the charm of the Jobim melody. Stowell solos first; his lines are carefully constructed around the harmony and maintains a flowing eight-note pattern. Kohl’s solo has a wide range of techniques and colors, from rhythmically repeated notes to chordal statements.

“Middle of Nowhere” is a Kohl original with a straight-eight feel provided by LaSpina. The melody is catchy and joyful. The two guitarists have outstanding interaction on this track. Both speak the same jazz language, and that gives them the ability to complement each other. Hearing these two guitarists perform is going to be a treat for all jazz guitar fans. Kohl once again proves his acumen for writing smartly constructed originals adorning them with equally styled arrangements of standards. At first, I was unsure of the two guitarists’ idea, but Kohl and Stowell prove they are both masters of collaboration, each contributing to the success of a dual guitar sound. LaSpina per usual is nothing less than magical. It is easy to hear why artists such as the Mel Lewis’s orchestra (1978–82), Stan Getz (1986-87), Jim Hall (from 1988), Andy LaVerne (from 1989), and Benny Carter (latter half of the 1990s) called upon his bass predilection. The Crossing is worth the journey. Partake and enjoy. https://5fingerreview.com/frank-kohl-the-crossing-review/

Personnel – Frank Kohl: guitar; John Stowell: guitar and nylon string guitar; Steve LaSpina: contrabass

The Crossing

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Alexandra Shakina - Mood Indigo

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 61:38
Size: 142,9 MB
Art: Front

(5:44) 1. Estate
(5:36) 2. I Could Have Told You
(6:29) 3. Isn't It Romantic?
(4:10) 4. Let's Face The Music And Dance
(3:13) 5. Love you Madly
(5:24) 6. Mood Indigo
(3:42) 7. Only Trust Your Heart
(5:07) 8. A Sleepin Bee
(4:00) 9. Take Love Easy
(3:02) 10. You Are The Top
(4:03) 11. Comes Love
(5:39) 12. I'm A Fool To Want You
(5:22) 13. I Thought About You

One of the Russian diva who sings in a jazz mood with a romantic husky voice, the long-awaited second album of Alexandra gives you a wonderful love song cocktail! Translate By Google https://www.venusrecord.com/v2/release/VHCD-1267.html

Personnel: Alexandra Shakina, vocals; Massimo Farao', piano; Nicola Barbon, bass; Gianni Cazzola, drums

Mood Indigo

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Sonny Simmons - Last Man Standing

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:42
Size: 135,1 MB
Art: Front

( 8:42) 1. Call to Order
(11:00) 2. Ancient Ritual
( 4:30) 3. La Benedectina
( 4:34) 4. Janet's Mood
(15:45) 5. Black Gardenia
( 8:34) 6. Melodius Theme
( 5:34) 7. Theme for Ernie

This is the latest in a series of albums under saxophonist Sonny Simmons' name put out by the Norwegian Jazzaway label; a further instalment in the documentation of an abundantly creative artist, but one who only relatively recently has started to receive the kind of exposure he deserves. The setting here is a straight-ahead one and Simmons thrives in it. In the company of a rhythm section that does everything a listener might ask of it, and a whole lot more besides, Simmons puts himself across in a program consisting of his original compositions and Tadd Dameron's "Theme For Ernie," the inclusion of which indicates the leader's appreciation of a tradition goes back a whole lot further than a lot of people might imagine.

The same might be said of Simmons' grasp of the musical forms outside of the area he's most readily associated with. "Janet's Mood" is a case in point, not least because its ballad form serves as a vehicle for Simmons' acidic lyricism, happily purged of false sentiment. Pianist Anders Aarum shows here his mastery of a kind of fractured chromaticism that's entirely his own at the same time as he evokes the spirit of prime McCoy Tyner. On the subject of chromaticism, the leader's phrasing on "Black Gardenias" has about it that compellingly relentless quality that saxophonist John Coltrane might have blazed a trail for, but which has still made for better than worthwhile music ever since. The quartet maps out that territory so effectively here that it can only be called remarkable, especially when in so doing Simmons puts out his knowledge of where the music is his coming from whilst simultaneously putting out his own thoughts. In that balance, perhaps, lies true expression.

"Melodious Theme" underscores the group's empathy in no insignificant fashion, Simmons navigating the stormy sea blown up by his accompanists with customary aplomb and bringing galvanic phrases to bear whilst seemingly straining against the limits of human expression. Having said that, there's an important quality that he shares with saxophonist Fred Anderson he never resorts to screaming through his horn as a device for making a point, facile or otherwise. The impassioned logic that both men pour out through their music-making is a shared thing of wonder.

"Theme For Ernie" has about it that wistful air that's emblematic of much of Tadd Dameron's music. Simmons emphasises it through the simple expedient of initially singing the melody through his alto saxophone before putting in some potent variations. What one can only assume to have been ample rehearsal time makes a difference here, so cohesive is the group's thinking. If not that, then that indefinable quality that makes for compelling music was in the room at the time, and what's true in this instance is equally true of the whole program.~ Nic Jones https://www.allaboutjazz.com/last-man-standing-sonny-simmons-jazzaway-review-by-nic-jones.php

Personnel:Sonny Simmons: alto saxophone; Anders Aarum: piano; Mats Ellertsen: bass; Ole-Thomas Kolberg: drums. Torstein Lofthus: drums .

R.I.P.

George Freeman - Man & Woman

Styles: Guitar Jazz
Year: 1974
File: MP3@320K/s
Time: 43:24
Size: 99,5 MB
Art: Front

(5:12)  1. Till There Was You
(5:59)  2. You've Changed
(4:37)  3. I Ain't Got Nobody
(5:04)  4. Groovy Lady
(5:13)  5. Funny How Time Slips
(6:49)  6. Squeeze Me
(4:06)  7. Stardust
(6:19)  8. Georgia on My Mind

While Man & Woman embraces a mellower approach than guitarist George Freeman's other Groove Merchant dates, it's by no means the late-night boudoir record its erotic cover suggests the stripped-down, nuanced sound instead adheres to a relatively straightforward soul-jazz formula, more focused and earthbound in its orientation than the average Freeman session. Teaming here with pianists Harold Mabern and Kenny Barron, bassist Bob Cranshaw, and drummer Buddy Williams, the guitarist embraces the change of pace, settling comfortably into the music's slow, slinky grooves not only are his solos as imaginative as before, but they also boast a rippling sensuality otherwise absent from his previous records. ~ Jason Ankeny  http://www.allmusic.com/album/man-woman-mw0001213579

Personnel: George Freeman – guitar;  Harold Mabern - piano, electric piano;  Kenny Barron - electric piano;  Bob Cranshaw – bass;  Buddy Williams - drums

Man & Woman

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Maggie Herron - Between the Music and the Moon

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 52:00
Size: 120,0 MB
Art: Front

(4:22) 1. Wolf
(4:47) 2. I Can't Get to Sleep
(5:09) 3. Between the Music and the Moon
(3:53) 4. Seduction
(3:28) 5. Ritmo Latino
(3:26) 6. Notre amour
(4:26) 7. In a Heartbeat
(4:54) 8. I'll Never Leave Your Side
(3:43) 9. Another Dose of You
(5:10) 10. Let Him Stay
(4:46) 11. After All the Time
(3:51) 12. I Lie Just a Little

While her previous album included a healthy dose of standards, for her new CD Between The Music & The Moon, singer-songwriter Maggie Herron wanted to focus on original material. The results are 12 songs that range between Latin dance to bluesy romps and sultry ballads. Herron's songwriting skills are evident from the start and her deep, rich voice takes the listener on a musical journey.

On the opening number "Wolf," a slinky horn intro gives way to a smoky vocal from Herron with clever lyrics from her daughter Dawn (Who contributed to several tracks). Think "Fever" stylistically, though with more musical accompaniment. "I Can't Get To Sleep" is an ode to insomnia. Sung over an incessant, almost marching band drum pattern from Abe Lagrimas. Lagrimas pulls double duty on the song, delivering a Spanish-inspired solo on ukulele while Herron gives a tasteful piano solo of her own.

The Latin theme continues on "Seduction" and "Ritmo Latino." The former lives up to its name with a sultry vocal from Herron while the latter finds her shifting effortlessly between English and Spanish over a danceable rhythm and strong horns. Grant Geissman channels his inner Carlos Santana from a strong guitar solo on "Seduction."

For the title track, Herron gives a breathy vocal with angelic harmonies courtesy of Denise Donatelli. This pretty ballad showcases a subdued, yet effective flugelhorn solo from Ron Stout. The musicianship, both here and throughout, is top notch, with the players never getting in the way of the songs.

The breezy ballad "Notre Amour" finds Herron singing in French, giving a passionate vocal with pretty trumpet from Ron Stout. The album closes with "I Lie Just A Little." This bluesy track finds Herron accompanied by Dean Taba on bass, who delivers a killer bass line to back Herron's soulful vocals. Between The Music & The Moon showcases Herron's considerable talents as a singer-songwriter. While the songs may all be new to listeners, the potent music and singing definitely makes this album worth a listen. http://blindedbysound.com/reviews/cd-review-maggie-herron-between-the-music-and-the-moon/

Between the Music and the Moon

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Eddie Daniels & Roger Kellaway - A Duet Of One

Styles: Clarinet And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 73:10
Size: 167,8 MB
Art: Front

( 8:51)  1. I'm getting Sentimental Over You
( 7:39)  2. Slow Dance
( 7:32)  3. Adagio Swing
(11:16)  4. I want to Be Happy
( 7:32)  5. New Orleans
( 6:12)  6. This is the Time
( 6:10)  7. After You've Gone
( 8:11)  8. Blue Waltz
( 4:29)  9. Love of My Life
( 5:16) 10. We'll Always Be Together

In 2005, longtime collaborators Eddie Daniels and Roger Kellaway reunited at Los Angeles' Jazz Bakery to try their skills without the comfort of bass or drums. Luckily, they were up to the challenge more than ever. The result, A Duet of One, presents two musicians who blend melody and spontaneity so well that they could improvise a symphony together. From the first moments of "I'm Getting Sentimental Over You," Daniels and Kellaway establish a foundation that only grows tighter, as the clarinet asks and the piano answers through the head. Both play with a delicate touch. Paquito D'Rivera writes, in his excellent liner notes, that the two had never played the tune before, making the result still more impressive. Piano and clarinet swap unaccompanied solo statements with the ease of dialogue, slowing tempos and changing dynamics, before returning to the classic melody. Kellaway is a real treat to hear, an underrated player with a sound that mixes touches of Art Tatum and Tin Pan Alley with distinctly modern swing. He consistently finds the right spot for every key, up and down the board. Meanwhile, Daniels' flawless technique belies the subtlety of his tone. His sound is always clean, whether at deep lows or glass cracking highs. At any given moment, he can quote delicate classical repertoire, or reach down for some soul, as he does on "Adagio Swing" with bluesy catcalls and fingers flying.

But for all the individual abilities on display, the songs live on the give-and-take between players. An 11-minute "Why Was I Born?" transforms the original tune into lyrical repartee. The conversation is carried by a chromatic triplet motif that passes from clarinet to piano, and vice versa, like a warming bottle. They pull it through the octaves, mix in clever twists, and make redefining a standard seem easy. "New Orleans" finds Daniels' clarinet laying sweet improv with soft dynamics, suggesting a big city mournfulness brought down South. The stalking steps of "This is the Time," repeated in round, leap into a tremendous Kellaway solo, full of subtle, angular choices. Both players swap flourishes and trills before launching into a rollicking "After You've Gone" that features wild clarinet blowing. The sound is decent for a live album. Some of Kellaway's wonderfully subtle touches are nearly lost, particularly on a subpar sound system. Daniels sounds perfect though, down to the whispery clicks of his keys, and the crowd is warm without being overbearing.

The mellow "Blue Waltz" is a masterpiece of breathy intonations and romantic piano flourishes. The set closes with "We'll Always Be Together," an upbeat, Latin-tinged number. Daniels puts on a show of elegant technique as Kellaway eases him along to a rousing end. But before the melody is fully restated, Daniels breaks away to once again recreate the tune, as if a few extra lines need adding before he hops offstage. It's a fitting end to a deeply enjoyable album. ~ Warren Allen  http://www.allaboutjazz.com/a-duet-of-one-eddie-daniels-ipo-recordings-review-by-warren-allen.php

Personnel: Eddie Daniels: clarinet; Roger Kellaway: piano.

A Duet Of One

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Lori Williams - A New Book

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 53:38
Size: 124,0 MB
Art: Front

(4:03) 1. A New Book
(4:54) 2. New Day
(5:09) 3. Demais
(5:29) 4. Freely (Test the Waters)
(4:27) 5. I Can't Tell You Why
(5:20) 6. Let's Stay Together
(7:17) 7. Ukuphila (The Healing Song) - Joburg Mix
(4:05) 8. New Day - Radio Edit
(4:03) 9. I Can't Tell You Why - Radio Edit
(4:36) 10. Demais - Radio Edit
(4:09) 11. Freely (Test the Waters) - Radio Edit

Setlist unabashedly plays favorites, and Lori Williams is by any measure near the top of the favorites list. This D.C. vocalist’s instrument contains the kind of nuances that one could get lost in. She has the kind of attenuation and subtlety that we associate with jazz singing instantly a kind of jazz-vocal ‘discipline,’ for lack of a better term. But Williams slips in hints and sometimes dead give aways that she has packed away the kind of soul power that would make her a tremendous R&B or gospel singer. Perhaps it’s a sort of vocalist’s twist on Ernest Hemingway’s “iceberg theory”: What you hear on the surface is only about 10 percent of what’s really there. As it happens, what is there is crystalline clarity, perhaps the most precise articulation of any singer in town, and a range that will, when she runs it, produce shivers. "She's got a soft-edged, creamy voice that's a natural vehicle for introspection, but also one that you could happily curl up and get lost in. It's stunning, supple subtle, sumptuous, soulful music - let's call that the five Ss of Lori Williams, shall we?"~Michael J. West - The Washington City Paper https://www.lorijazz.com/

"A NEW BOOK is a wonderful collection of thoughtfully crafted messages of love and new beginnings. Lori Williams' beautiful voice glides soulfully and effortlessly across a smooth and inviting rhythmic landscape with messages of abundance, joy, and affirmation. This project is food for the soul and a soundtrack for your daily groove!" ~ Dianne Reeves

A New Book

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Chiara Civello - Canzoni

Styles: Vocal

Year: 2014

File: MP3@320K/s

Time: 69:44

Size: 160,2 MB

Art: Front

(3:51)  1. Via con me

(3:34)  2. Io che non vivo senza te

(4:25)  3. Con una rosa

(4:29)  4. Che me importa el mundo

(5:22)  5. Va bene va bene così

(4:26)  6. Io che amo solo te

(4:04)  7. Never Never Never

(4:13)  8. Metti una sera a cena

(3:27)  9. Una sigaretta

(3:52) 10. Fortissimo

(4:17) 11. Incantevole

(4:01) 12. E penso a te

(4:18) 13. Il Mondo

(3:31) 14. Senza fine

(4:28) 15. I mulini dei ricordi

(4:08) 16. Mentre tutto scorre

(3:18) 17. Arrivederci

Originally from Rome but now based in New York City, Italian singer/songwriter Chiara Civello is an eclectic, far-reaching artist who brings a variety of pop, jazz, cabaret and Latin influences to the table. Although Civello has performed straight-ahead jazz in the past, she is not a full-time jazz singer or a bebop purist by any means; stylistically, much of the material she has recorded for Verve is closer to Sade, Basia, Norah Jones, Nellie McKay (minus the eccentricity and sharp-tongued humor) or Rickie Lee Jones than it is to hardcore jazz vocalists like Abbey Lincoln, Sheila Jordan and Kitty Margolis. But the jazz influence is almost always present in Civello's pop recordings and since her arrival in the United States, she has crossed paths with major jazz musicians like alto saxophonist Phil Woods and guitarist Mike Stern. Listing all of Civello's influences could be time-consuming; Civello gives the impression that along the way, she has listened to everyone from Joni Mitchell, Sade and Sting to Ella Fitzgerald, Julie London and Billie Holiday. Brazilian jazz and pop is also a strong influence on Civello, who is obviously well aware of Brazilian greats such as Astrud Gilberto, Gal Costa, Ivan Lins and Antonio Carlos Jobim. Although Civello grew up in a country where Italian is the primary language, much of her writing has been in English. Civello, in fact, has been singing and writing in at least four languages English, Italian, Portuguese and Spanish and when she performs in English, Civello sings with only a slight trace of an Italian accent. Her command of the English language is excellent, and her accent is beneficial in that it gives her performances a great deal of character.

Civello was still living in Italy when, at the age of 17, she was hired to perform as a featured vocalist for the Mario Raja Big Bang (as opposed to Mario Raja Big Band). After that, she was employed by Italian jazz drummer Roberto Gatto, who is well-known in Italy and included her in his group the Noisemakers. In 1993, Civello moved to Boston after being awarded a scholarship to the prestigious Berklee College of Music and by the time she graduated from Berklee in 1998, Civello had received a Boston Jazz Society Award as well as a Cleo Laine Award. In 2000, she left Boston for New York City, where she met veteran producer Russ Titelman, who has worked with a long list of major artists that includes, among others, Paul Simon, Rickie Lee Jones, Randy Newman, Eric Clapton, Steve Winwood, Gordon Lightfoot, James Taylor and Brazilian star Milton Nascimento. Titelman went on to produce a demo for Civello and introduced her to Ron Goldstein, president and CEO of the Verve Music Group, and Goldstein ended up offering her a contract. Titelman also introduced Civello to veteran pop composer Burt Bacharach, with whom she co-wrote the song "Trouble." Late Quarter Moon, Civello's first album for Verve, was given a February 2005 release date in the United States. https://itunes.apple.com/br/artist/chiara-civello/id41621668

Canzoni

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Sarah Vaughan - Sarah Vaughan Sings The Mancini Songbook

Bitrate: MP3@320K/s
Time: 33:38
Size: 77.0 MB
Styles: Jazz vocals, Standards
Year: 1965/1998
Art: Front

[2:41] 1. How Soon
[2:38] 2. Days Of Wine And Roses
[2:53] 3. Dear Heart
[2:50] 4. Charade
[3:47] 5. Too Little Time
[3:49] 6. Dreamsville
[1:51] 7. Bye-Bye Theme From Peter Gunn
[2:50] 8. Moon River
[2:29] 9. (I Love You And) Don't You Forget It
[3:37] 10. Slow Hot Wind
[2:26] 11. Mr. Lucky
[1:44] 12. It Had Better Be Tonight

Sarah Vaughan's contribution to the female jazz vocal genre, during the twentieth century, puts her alongside the likes of Dinah Washington, Billie Holliday and Ella Fitzgerald. As a child Sarah Vaughan sang in church and had extensive piano lessons from 1931-39, which helped her become a capable keyboardist. After she won an amateur contest at the Apollo Theatre, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44).

When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She enjoyed her time with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie. During the 1950's, Sarah recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy.

Sarah Vaughan Sings The Mancini Songbook

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