Various - Antonio Carlos Jobim & Friends (3 Parts)

Brazilian songwriter and vocalist Antonio Carlos Jobim (1927–1994) was one of the creators of the subtle, whispery, jazz-influenced popular song style known as bossa nova. He has been widely acclaimed as one of Brazil's greatest and most innovative musicians of the twentieth century.

Jobim's place in the annals of popular music was secured by a single hit song, "The Girl from Ipanema" (1964), which he co-wrote with lyricist Vinícius de Moraes. His creative contributions to jazz, however, went much deeper; many of his songs became jazz standards, and, in the words of Richard S. Ginell of the All Music Guide , "Every other set" performed in jazz clubs "seems to contain at least one bossa nova." Jobim was sometimes called the George Gershwin of Brazil, not so much because of any musical or lyric similarity Jobim's songs tended to have oblique, often poetic lyrics quite unlike the clever romantic rhymes of George Gershwin's brother Ira but because his music became the bedrock for the work of jazz musicians for decades after its creation.

Album: Antonio Carlos Jobim & Friends (Part 1)

Bitrate: MP3@320K/s

Time: 58:22

Size: 133.6 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[2:40] 1. Antônio Carlos Jobim - The Girl From Ipanema

[2:28] 2. Sergio Mendes & Brasil '66 - Agua De Beber

[5:15] 3. Dizzy Gillespie - One Note Samba

[3:36] 4. João Gilberto - Só Danço Samba

[4:17] 5. Antônio Carlos Jobim - Corcovado

[2:48] 6. Astrud Gilberto - How Insensitive

[4:13] 7. Stan Getz - Chega De Saudade (No More Blues)

[3:31] 8. Elis Regina - Águas De Março

[2:15] 9. Sergio Mendes & Brasil '66 - Wave

[2:27] 10. Caetano Veloso - Meditação

[4:55] 11. Gal Costa - A Felicidade

[4:26] 12. Antônio Carlos Jobim - Captain Bacardi

[2:40] 13. Astrud Gilberto - Dindi

[4:41] 14. Stan Getz - O Grande Amor

[3:09] 15. Elis Regina - Inútil Paisagem

[2:40] 16. Walter Wanderley - Song Of The Jet

[2:13] 17. Ella Fitzgerald - Desafinado

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Album: Antonio Carlos Jobim & Friends (Part 2)

Bitrate: MP3@320K/s

Time: 66:35

Size: 152.4 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[4:44] 1. Wes Montgomery - O Morro Nao Tem Vez

[2:10] 2. Astrud Gilberto - Amor Em Paz

[3:50] 3. Antônio Carlos Jobim - Brasil Nativo

[5:03] 4. Antônio Carlos Jobim - Para Machuchar Meu Coracao

[6:21] 5. Herbie Hancock - Ela E Carioca

[3:09] 6. Elis Regina - Retrato Em Branco E Preto

[5:48] 7. Ella Fitzgerald - Jazz Samba

[2:45] 8. Astrud Gilberto - Felicidade

[2:51] 9. João Gilberto - Vivo Sohando

[5:27] 10. Joe Henderson - Dreamer

[2:06] 11. Sergio Mendes & Brasil '66 - Triste

[2:32] 12. Astrud Gilberto - Eu E Voco

[2:39] 13. Elis Regina - Bonita

[5:18] 14. Joe Henderson - Portrait In Black And White

[4:34] 15. João Gilberto - Este Seu Olhar

[1:44] 16. Elis Regina - O Que Tinha De Ser

[5:26] 17. Antônio Carlos Jobim - Ana Luiza

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Album: Antonio Carlos Jobim & Friends (Part 3)

Bitrate: MP3@320K/s

Time: 64:12

Size: 147.0 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

Art: Front

[6:36] 1. Joe Henderson - Boto

[3:29] 2. Antônio Carlos Jobim - Luiza

[3:59] 3. Antônio Carlos Jobim - Remember

[5:03] 4. Gal Costa - Se Todos Fossem Iguais A Voce

[3:18] 5. Antônio Carlos Jobim - Chansong

[8:46] 6. Lee Ritenour - Stone Flower

[2:19] 7. Antônio Carlos Jobim - Mojave

[6:39] 8. Stan Getz - Once Again (Outra Vez)

[3:09] 9. Elis Regina - Chovendo Na Roseira

[2:07] 10. Nelson Riddle - Por Toda Minha Vida

[2:27] 11. Astrud Gilberto - She's A Carioca

[2:17] 12. Astrud Gilberto - Water To Drink

[3:44] 13. Antônio Carlos Jobim - Looks Like December

[3:16] 14. Antônio Carlos Jobim - Nuvens Douradas (Golden Clouds)

[3:11] 15. Joe Henderson - Happy Madness

[3:44] 16. Antônio Carlos Jobim - Anos Dourados

Antonio Carlos Jobim & Friends (Part 1)(Part 2)(Part 3) 

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Paolo Tomelleri Big Band - The Overwhelming Love

Styles: Jazz, Big Band
Year: 2019
File: MP3@320K/s
Time: 111:27
Size: 260,4 MB
Art: Front

(2:11) 1. Intro America West Side Story
(5:08) 2. Moonglow
(3:16) 3. L'uomo dal Braccio D'oro
(4:56) 4. Them There Eyes
(5:59) 5. Acque Amare
(4:25) 6. Le Strade di Notte
(4:00) 7. Fever
(3:51) 8. I Wish I Were Twins
(6:25) 9. After You've Gone
(5:26) 10. What's Good for Me
(4:06) 11. Woodchopper's Ball
(5:20) 12. Maria
(4:57) 13. Dark Eyes
(5:23) 14. Just a Gigolo
(8:52) 15. I've Found a New Baby
(4:22) 16. I've Got You Under My Skin
(2:02) 17. Typewriter
(4:17) 18. Almost in Your Arms
(5:48) 19. What a Little Moonlight Can Do
(3:16) 20. Whirlybird
(3:34) 21. Luna indiscreta
(3:04) 22. I Wish I Knew
(3:57) 23. Rockin' in Rhythm
(6:41) 24. C Jam Blues

After the great success of the 2012 and 2013 editions of “International Live Swing” and after “Jazz Broadway 2011”, the great gala dedicated to swing music and dance returns to Milan. The best performers on the international scene will "tell us", with music and dance, how Jazz was born from the contamination of a large number of musical and entertainment genres: from Broadway musicals to Hollywood music, up to the jazz reinterpretation of famous classical music pieces.

Special Guests: Dan Barrett (trombone, US), Rebecca Kilgore (vocal, US), Frank Roberscheuten (clarinet, US), Martin Breinschmid (vibraphone and drums, US) With the participation of: Rossano Sportiello (jazz piano, US), Paolo Alderighi (jazz piano, IT), Stephanie Trick (jazz piano, US) And with the extraordinary participation of: Karima Ballerini Swing: Vincenzo Fesi (dancer and choreographer of the stage area of the theater, IT), Marco Larosa and Sonia Salsedo (dancers and choreographers of the stalls areas, IT) and a dance group of international importance: Isabella Gregorio (IT), Katja Hrastar (Slovenia), Moe Sakan (Japan), Remy Kuoaku Kouame (France) and Pontus Persson (Swiden).

"Jazz Side Story" refers to the great "West Side Story", but it is also a metaphor for how Jazz interprets the theme of our life and other forms of musical expression. West Side Story is the famous musical adaptation of the great Leonard Bernstein of Romeo and Juliet (Shakespeare 1594).

The theme of the two lovers opposed by circumstances is much older and recalls dramas and legends of ancient Greece and the Celtic world, such as Troilus and Cressida, Tristan and Isolde, of course.

The theme is that of "overwhelming love", which through West Side Story, brings us to the role that Jazz has had in the world of music.

Overwhelming love is the "fil rouge" of the show: a narration of music and dance set in the America of the '30s and' 40s, through a path that intertwines the history of music, costume and vintage style, swing dances and by composers who in their time were great innovators.

On the stage of the Dal Verme the Big Band by Paolo Tomelleri, 20 brass to which is added a section of 12 strings, 2 opposing pianos, 2 drums and other instruments constitute a unique formation of its kind, which po jazz is transformed into a big band, until it becomes one of the largest symphonic rhythm orchestras in Italy.

The protagonists of the evening are jazz music and swing dance, the challenges between soloists on the international scene, which retrace Broadway musicals and certain themes of classical music.

It is known that that era was also linked to the world of dance. The orchestras addressed an audience of dancers, especially in New York. The Roseland, the Alhambra, the Savoy Ballroom were the places where most of the young people went to hear their idols. Ballrooms for 2000 people. Dancing also played a fundamental role in Broadway plays, vaudeville shows, the Cotton Club. There was no successful show that did not feature a group of dancers. It was precisely the dance, despite racial discrimination, that brought black and white boys and girls together. Swing dance became a kind of fever of the time and, subsequently, it was considered by historians to be an important element of social aggregation. At Dal Verme, as in the great shows of the time, a phenomenal dance troupe will be staged to revive the atmosphere of the great ballrooms in the America of the 1930s and 1940s. The dancers invited to the gala come from all over Europe. The choreographies are curated by Vincenzo Fesi, an internationally renowned artist and dancer.Translate By Google https://www.ipomeriggi.it/eventi/jazz-side-story-the-overwhelming-love/

The Overwhelming Love

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Marlene VerPlanck - Loves Johnny Mercer

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 52:56
Size: 123,3 MB
Art: Front

(2:03) 1. I Remember You
(2:12) 2. That Old Black Magic
(2:19) 3. Early Autumn
(2:12) 4. Hit the Road to Dreamland
(2:33) 5. Skylark
(3:31) 6. Any Place I Hang My Hat Is Home
(2:16) 7. Fools Rush In
(2:09) 8. Day In - Day Out
(1:58) 9. Lets Take the Long Way Home
(2:19) 10. I'm Old Fashioned
(2:05) 11. Jeepers Creepers
(3:36) 12. Midnight Sun
(2:58) 13. Something's Gotta Give
(3:03) 14. I Thought About You
(1:44) 15. Out of This World
(2:27) 16. P.S. I Love You
(2:09) 17. My Shining Hour
(2:57) 18. How Do You Say Auf Wiedersehn
(2:39) 19. Summer Wind
(2:57) 20. Charade
(2:40) 21. Love's Got Me in a Lazy Mood

Marlene Ver Planck is a perfect person to interpret the lyrics of Johnny Mercer because she has both a beautiful voice and a straightforward approach. The original LP had 16 selections and found the singer accompanied by pianist Tony Monte, guitarist Bucky Pizzarelli, bassist Milt Hinton and drummer Butch Miles in 1978. Ten years later to fill out the CD reissue, the same cast returned to record five additional songs. The performances are quite concise (only four of the 21 pieces are over three minutes) but each is long enough to get its point across. Highlights include "I Remember You," "Early Autumn," "Skylark," "Something's Gotta Give," "I Thought About You" and "Love's Got Me in a Lazy Mood." Recommended.~ Scott Yanow https://www.allmusic.com/album/loves-johnny-mercer-mw0000200393

Personnel: Marlene Ver Planck; Tony Monte: piano; Bucky Pizzarelli: guitar; Milt Hinton: bass; Butch Miles: drums

Loves Johnny Mercer

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Gary Burton & The Hum Trio - Live at Midem 1981

Styles: Vibraphone Jazz
File: MP3@320K/s
Time: 48:23
Size: 111,5 MB
Art: Front

(6:36) 1. Didi's Bounce
(8:58) 2. Theme for a Friend
(5:29) 3. Alregia
(1:09) 4. Introduction for Gary Burton
(6:08) 5. My Foolish Heart
(5:24) 6. Chega De Saudade (No More Blues)
(8:59) 7. The Night Has a Thousand Eyes
(5:36) 8. Little African Flower

Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone and, at the age of 17, made his recording debut in Nashville, Tennessee, with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and subsequently Stan Getz, with whom he worked from 1964-1966.

As a member of Getz's quartet, Burton won Down Beat magazine's Talent Deserving of Wider Recognition award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had also recorded three albums under his name for RCA. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon. Burton's burgeoning popularity was quickly validated by Down Beat magazine, which awarded him its Jazzman of the Year award in 1968. During his subsequent association with the label (1973-1988) the Burton Quartet expanded to include the young Pat Metheny on guitar, and the band began to explore a repertoire of modern compositions. In the '70s, Burton also began to focus on more intimate contexts for his music. His 1971 album Alone at Last, a solo vibraphone concert recorded at the 1971 Montreux Jazz Festival, was honored with a Grammy Award. Burton also turned to the rarely heard duo format, recording with bassist Steve Swallow, guitarist Ralph Towner, and most notably with pianist Chick Corea, thus cementing a long personal and professional relationship that has garnered an additional two Grammy Awards.

lso in the '70s, Burton began his career with Berklee College of Music in Boston. Burton began as a teacher of percussion and improvisation classes at Berklee in 1971. In 1985 he was named Dean of Curriculum. In 1989, he received an honorary doctorate of music from the college, and in 1996, he was appointed Executive Vice President. Burton began recording for GRP records in the '80s and '90s. In 1990, he paired up again with his former protege Metheny for Reunion, which landed him the top spot on Billboard magazine's jazz chart. Burton is now recording for Concord Records. Departure (Gary Burton & Friends) was released in 1997 by Concord Records as well as Native Sense, a new duet collaboration with Chick Corea, which garnered a Grammy Award in 1998. Also in 1997, Burton recorded his second collection of tango music, Astor Piazzolla Reunion, featuring the top tango musicians of Argentina, followed by Libertango in 2000, another collection of Piazzolla music. His 1998 Concord release, Like Minds, an all-star hit featuring his frequent collaborators Chick Corea, Pat Metheny, Roy Haynes, and Dave Holland, was honored with a Grammy win, Burton's fifth. Gary's vibraphone tribute CD, For Hamp, Red, Bags and Cal, was released in March 2001 on Concord and garnered Gary's 12th Grammy nomination. His most recent release in 2002 is a unique project with Makoto Ozone, his pianist collaborator of the past twenty years. In Virtuosi the pair explore the improvisational possibilities of classical themes including works by Brahms, Scarlatti, Ravel, Barber and others. In an unusual move, the Recording Academy nominated Virtuosi in the classical category of the Grammy awards, a unique honor for Gary. For the immediate future, Gary is going to be concentrating on performing with the NEXT GENERATIONS band. His most recent recording NEXT GENERATIONS was released in March of 2005 on Concord. https://musicians.allaboutjazz.com/garyburton

Live at Midem 1981

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Naomi & Her Handsome Devils - Live at the Uptown Swingout

Styles: Vocal, Swing
Year: 2019
File: MP3@320K/s
Time: 56:50
Size: 131,4 MB
Art: Front

(0:10) 1. Intro
(2:49) 2. Gone so Long
(5:10) 3. Sweet Sue
(3:18) 4. Let Yourself Go
(4:39) 5. Mood Indigo
(4:50) 6. Love
(3:04) 7. I Hear Music
(4:39) 8. Blues in My Heart
(3:27) 9. Heartaches
(3:00) 10. Boot Heel Drag
(3:52) 11. Am I Blue
(2:48) 12. I'm Crazy 'bout My Baby
(3:41) 13. I'll Never Be Free
(3:10) 14. Please Don't Talk About Me When I'm Gone
(2:56) 15. Wishing and Crying for You
(4:25) 16. Dinah
(0:44) 17. Outro

The long awaited third album from what can only be called a swing revival supergroup is finally here. Recorded last summer at the Minneapolis Uptown Swing Out, this live take on Naomi and Her Handsome Devils is already being played at DJ'd events and dance classes all over the world. An instant hit, but how could it miss. The front line is Jonathan Doyle from Seattle, Gordon Au from New York City, and Charlie Halloran from New Orleans. The rhythm section is Jake Sanders from Chicago, Jared Engel out of Brooklyn, Dalton Ridenhour from Missouri but now in New York, and Josh Collazo from LA. If you've been reading this paper awhile those are all names you've heard before, either as leaders or members of the best traditional jazz and swing groups going. Past albums have included Mike Davis and Adrian Cunningham. This is what is called on the festival circuit a reunion band but the Handsome Devils reunite a number of times a year at major swing events on at least three continents. The Devils are led by Naomi Uyama a vocalist easily their match in musicality. She's also an international swing dance champion and an instructor with a great sense of what dancing crowds want.By Joe Bebco https://syncopatedtimes.com/naomi-her-handsome-devils-live/

Personnel: Naomi Uyama - vocals; Jake Sanders - guitar; Jonathan Doyle - tenor sax and clarinet; Gordon Au - trumpet; Charlie Halloran - trombone; Jared Engel - bass; Dalton Ridenhour - piano; Josh Collazo - drums

Live at the Uptown Swingout

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The Syd Lawrence Orchestra - Live In Dublin

Styles: Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 63:55
Size: 148,6 MB
Art: Front

(1:47) 1. Evening Serenade
(3:48) 2. Strike Up the Band
(4:19) 3. Splanky
(3:21) 4. My Kind of Town
(3:57) 5. You're Driving Me Crazy
(2:31) 6. Bye Bye Blues
(2:57) 7. Holiday for Trombones
(4:29) 8. On the Sunny Side of the Street
(5:14) 9. Sing, Sing, Sing
(3:17) 10. Skyliner
(6:14) 11. Phil the Fluter's Ball / Molly Malone / Galway Bay / The Rose of Tralee / The Rakes of Mallow (Piper's Patrol) / When Irish Eyes Are Smiling
(3:52) 12. Elmer's Tune
(6:35) 13. Too Little Time
(3:06) 14. Trumpet Blues and Cantabile
(4:42) 15. Moonlight Serenade
(1:49) 16. In the Mood
(1:48) 17. Irish National Anthem

Born 26 June 1923, Shotton, Flintshire, Wales, died 5 May 1998, Wilmslow, Cheshire, England. As a child Lawrence studied violin but began playing cornet with a brass band. In 1941, he became a professional musician, playing dance music but then entered the Royal Air Force. During his military service he became a member of the RAF Middle East Command Dance Orchestra. After the war, he played with, among others, Ken Mackintosh and Geraldo. In 1953, he joined the BBC Northern Dance Orchestra, where he remained for 15 years. Towards the end of his stint with the orchestra Lawrence formed a rehearsal band, playing the kind of dance music and swing popularized in the late 30s and 40s by American bands, especially that led by Glenn Miller. Over the next few months Lawrence found that his rehearsal band was attracting a growing audience which was especially appreciative of the Miller music he had transcribed from records. In 1969, he made the decision to form a full-time professional band. Although in its original concept the band played highly derivative music, it was done with such spirit and enthusiasm that he successfully retained an audience for concerts and records. https://www.oldies.com/artist-biography/Syd-Lawrence.html

Live In Dublin

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Laura Benanti - Laura Benanti

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:12
Size: 102,3 MB
Art: Front

(4:15) 1. Cigarettes and Chocolate Milk
(3:46) 2. Someone You Loved
(4:13) 3. What Are You Doing the Rest of Your Life?
(3:08) 4. Sucker
(3:48) 5. The Boy From...
(4:24) 6. Go Slow
(3:35) 7. Don't Worry 'Bout Me
(3:51) 8. 50 Ways to Leave Your Lover
(4:00) 9. Lose You to Love Me
(3:56) 10. Wives and Lovers
(5:10) 11. The Party's Over

LAURA BENANTI, the Tony® Award-winning actress and singer from Broadway, film and television, and best-selling author, will release Laura Benanti, her debut studio album for Sony Music Masterworks, on October 23, 2020. Comprised of contemporary covers (Someone You Loved by Lewis Capaldi and Lose You to Love Me by Selena Gomez), jazz influenced torch songs (What Are You Doing the Rest of Your Life? by Michel Legrand and The Party's Over by Jule Styne and Betty Comden) and comedic takes on songs such Burt Bacharach's Wives and Lovers and Cigarettes and Chocolate Milk by Rufus Wainwright the Laura Benanti album features a selection of memorable tracks that fans of Laura s previous releases from stage and screen will surely enjoy.~ Opiniones Editoriales https://www.amazon.com/Laura-Benanti/dp/B0863TFXT7

Laura Benanti

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Professor Cunningham And His Old School - The Lockdown Blues

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 37:48
Size: 87,8 MB
Art: Front

(3:28) 1. Lockdown Blues
(3:40) 2. A Quarantine Love Song
(5:03) 3. Don't Get Around Much Anymore
(2:21) 4. It's Alright
(3:52) 5. Sittin' at Home, Drinkin' Alone
(3:53) 6. Over in the Gloryland
(3:46) 7. Six Feet is Too Far From You
(3:41) 8. I'm Broke and She's Gone
(3:19) 9. Lindy Hopper's Lament
(4:41) 10. Gimme a Sheet of that Sweet TP

Given the uncommon position in which the world found itself owing to the global coronavirus pandemic, it was only a matter of time before "socially distanced" albums such as this one, recorded by Australian-born "Professor" Adrian Cunningham's septet "in bedrooms around the world," in April 2020, were bound to emerge. More specifically, in bedrooms in NY state, Vitoria and Girona, Spain, which loosely qualifies as "around the world." The idea came to Cunningham during a socially-distanced stroll through New York's Central Park, when the tune "It's Alright" popped into his head, an anthem of positivity during uncertain times. After recording that song with the band, it was suggested to Rachel Domber at Arbors Records that perhaps a full album might be recorded that way. Once Domber gave the green light, plans for The Lockdown Blues were set in motion.

There were some obstacles to sidestep. For example, pianist Alberto Pibiri lives near a train station on Long Island, and needed to schedule his recordings around the train schedule, while in Manhattan, trumpeter Jon Challoner had to deal with the sounds of ambulance sirens passing by his apartment. Meanwhile, in Spain, drummer Marti Elias had to record virtually in secret to circumvent that country's strict lockdown policy. After that, much of the work of collating the various tracks and sending them to recording engineer Bill Moss for mixing and mastering was in the hands of Cunningham who says he "worked like a mad scientist into the wee hours of the morning" for many weeks.

Cunningham's hard work paid off. Lockdown Blues sounds like it could have been recorded in one bedroom, not many, with all hands on deck. That is as true for the vocal tracks (four) as it is for the instrumentals (six), even including spirited background vocals on "Over in the Gloryland." Professor Cunningham's "Old School" is engaging from the outset, as "Lockdown Blues" summons memories of swing sessions from well over half a century ago, up to and including impressive solos by Cunningham (tenor sax), trombonist Dani Alonso and guitarist John Merrill. Cunningham handles the vocals, starting with the groovy "Quarantine Love Song" and including "It's Alright," "Gloryland" and "I'm Broke and She's Gone." His style is informal and unmannered, the results generally agreeable.

It is the instrumentals, however, that summon the most ardent applause. Besides "Old School," they include four more of Cunningham's original compositions "Sittin' at Home, Drinkin' Alone," "Six Feet Is Too Far from You," "Lindy Hopper's Lament," "Gimme a Sheet of That Sweet Sweet T.P."and the Duke Ellington staple, "Don't Get Around Much Anymore." Even with their echoes of an earlier era, they are consistently bright and pleasing, as are the solos by Alonso, Merrill, Challoner, bassist Jim Robertson and Cunningham himself (tenor on most numbers, clarinet on the ballad "Six Feet" and the bluesy closer, "Gimme a Sheet"). This is tasteful and happy jazz played as it should be by seven able craftsmen whose interplay is far more cozy than the liner notes suggest.~ Jack Bowers https://www.allaboutjazz.com/the-lockdown-blues-professor-cunningham-and-his-old-school-arbors-records

Personnel: Adrian Cunningham: saxophone; Jon Challoner: trumpet; Dani Alonso: trombone; John Merrill: guitar; Alberto Pibiri: piano; Jim Robertson: bass; Marti Elias: drums; Kevin Congleton: percussion.

The Lockdown Blues

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Hal Smith's Roadrunners, Rebecca Kilgore - Waiting at the End of the Road

Styles: Post Bop, Vocal
Year: 2012
File: MP3@320K/s
Time: 71:15
Size: 166,7 MB
Art: Front

(3:21) 1. I Need Lovin'
(5:28) 2. What Can I Say After I Say I'm Sorry
(5:13) 3. Wolverine Blues
(4:13) 4. You're Luck to Me
(3:18) 5. San Antonio Rose
(5:38) 6. Creole Love Call
(4:20) 7. Once or Twice
(3:45) 8. Someday You'll Want Me to Want You
(4:05) 9. Who Walks in When I Walk Out?
(4:42) 10. When I Dream Of You
(4:18) 11. Mutiny in the Parlor
(3:44) 12. True Blue Lou
(3:45) 13. It Must Be True
(3:01) 14. Texas and Pacific
(4:11) 15. Sorry
(4:48) 16. Waiting at the End of the Road
(3:16) 17. Your Mother's Son in Law

A drummer with strong inclinations toward traditional jazz performance, Hal Smith was born in Indianapolis, IN, on July 30, 1953. Taking up drums at the age of ten among his teachers was the great Jake Hanna he made his professional debut in 1978, and in the years to follow served with the likes of the Dukes of Dixieland and the Grand Dominion Jazz Band. Smith also led groups including the Frisco Syncopaters and the Down Home Jazz Band, and regularly collaborated with Butch Thompson and Bobby Gordon. Among his recording dates are 1994's California Here I Come, 1995's Swing, Brother, Swing, and 1996's Bourbon Street Memories. Smith was also a respected jazz journalist, contributing countless articles to publications including Jazz Rambler, Mississippi Rag, and West Coast Rag.~ Jason Ankeny https://www.allmusic.com/artist/hal-smith-mn0000660509/biography

Personnel: Rebecca Kilgore - vocals, Hal Smith - drums, Bobby Gordon - clarinet, Ray Skjelbred - piano, Mike Duffy - bass.

Waiting at the End of the Road

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Jessie Gordon - A Work of Friction

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 40:39
Size: 93,8 MB
Art: Front

(3:41) 1. Dissolve Me
(4:42) 2. Boredom and Ire
(3:14) 3. Precious
(6:01) 4. Slow Burn
(2:54) 5. So Long
(2:43) 6. Fill Me Up With Words
(3:45) 7. Light Up
(5:11) 8. Breathing City
(4:02) 9. Poisoned Darts
(4:21) 10. Leaving No Trace

Jessie is a very sun-shy Perth red-headed jazz singer who enjoys swing music, dancing in her kitchen to Otis Redding, eating cheese at any given opportunity and singing in the shower and every other (shaded) venue. Her main musical passions are jazz, blues and roots music. She started singing professionally at the age of 15 and has fronted big bands, jazz duos and every sized band in-between. She has toured Australia, America, South East Asia, Germany, France, Spain, Poland and the UK. She is also a 20 time Fringe World Music and Cabaret Award winner.

She has also recorded nine albums, including one with Mark Turner (Best Friends 2019), an original album (A Work of Friction 2018), two intercontinental albums entitled Berlin Nights (2017) and Unknowable Journey (2020) with Berlin band Ginger Blues, the latter of which won the German Blues Award for 2020, and most recently the eponymous Sassafras (2021). http://www.jessiegordon.com.au/bio

A Work of Friction

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Joe Locke - Slander (And Other Love Songs)

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 55:36
Size: 127,9 MB
Art: Front

(8:08) 1. Song For Cables
(7:35) 2. Saturn's Child
(5:27) 3. Tuesday Heartbreak
(5:01) 4. Mission Impossible
(3:55) 5. Blue
(4:49) 6. Cecil B. DeBop
(9:03) 7. Slander
(6:36) 8. Can't Help Falling In Love
(4:58) 9. Second Story Man

This superb quintet session is the third, and undoubtedly best Milestone disc 39-year-old vibraphonist Joe Locke has released to date. Locke, a veteran of the Mingus Big Band and former Pepper Adams, Eddie Henderson, Dianne Reeve and Hiram Bullock sideman, has made his strongest personal statement with Slander (And Other Love Songs).

The influence of Bobby Hutcherson is overwhelming here especially as evidenced by the strong boppish originals Locke has crafted (the exceptional "Song for Cables," "Saturn's Child," "Cecil B. DeBop," "Second Story Man" and "Slander"). But Locke is a more aggressive, and at times, more interesting "inside" player.

The vibraphonist, whose inspiration comes from such horn players as Jackie McLean, Hank Mobley, John Coltrane and Steve Grossman, is aided by some exceptional folks here too. Pianist Billy Childs, who has walked this ground before with Freddie Hubbard and Bobby Hutcherson, is muscular and consistently interesting as he alternates between acoustic and electric pianos. Bassist Rufus Reid and drummer Jackson round out the rhythm section. But it is undersung guitarist Vic Juris - appearing on five of the nine tracks here, a sort of cross between early Pat Metheny and jazzier John Scofield - who is the second star here. His commentary is really something special, providing an edgy counterpoint to the mellifluous strength of Locke's melodic vibe work.

A nice surprise is Locke's improving take on strong source material. In the past he's taken well-known works - like film themes or Henry Mancini's music - and found more than his share of sap to squeeze. But on Slander, he reworks, rethinks and reinvents Lalo Schifrin's "Mission: Impossible," refashions Joni Mitchell's "Blue" into a lovely piano/vibe duet and manages to restructure the pop hit, "Can't Help Falling In Love," transcending each into something truly personal. Nice touch.

Slander (And Other Love Songs), the tenth of Joe Locke's solo discs since his 1983 debut, is a memorable representation of what good contemporary mainstream jazz can accomplish. And, if things are right in the world, it should help Joe Locke ascend to become one of the more important figures in contemporary jazz. Recommended.~ Douglas Payne https://www.allaboutjazz.com/slander-and-other-love-songs-joe-locke-fantasy-jazz-review-by-douglas-payne.php

Personnel: Joe Locke Vibes; Billy Childs; Piano: Vic Juris; Guitar: Rufus Reid; Bass: Gene Jackson; Drums.

Slander (And Other Love Songs)

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Dave Pell - A Pell Of A Time

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 44:41
Size: 103,4 MB
Art: Front

(4:31)  1. Jazz Goes To Siwash
(3:07)  2. Suze Blues
(6:41)  3. Grey Flannel
(5:38)  4. Angel Eyes
(2:42)  5. G Tune
(5:18)  6. Sandy Shoes
(4:11)  7. Cameo
(7:14)  8. Love Me Or Leave Me
(5:19)  9. Them There Eyes

The Dave Pell Octet was one of the great cool jazz bands of the mid- to late '50s. This fairly rare LP found Pell altering the personnel greatly, with Pell and pianist/arranger Marty Paich being the only holdovers. In addition, the arrangements of Paich, Bill Holman, Paul Moer (who, like trombonist Ray Sims, is a substitute on three songs), and Jack Montrose are opened up, and the musicians take much longer solos than on Pell's earlier albums. With trumpeter Jack Sheldon often starring and there being some excellent spots for baritonist Pepper Adams, this is a rather different album by the Dave Pell Octet, a bit harder-charging and more hard bop-oriented while still retaining the identity of the original group. Worth searching for. ~ Scott Yanow http://www.allmusic.com/album/a-pell-of-a-time-mw0000314352

Personnel:  Tenor Saxophone, Leader – Dave Pell;   Baritone Saxophone – Pepper Adams;  Bass – Tom Kelly;  Drums – Mel Lewis;  Guitar – Tommy Tedesco;  Piano – Marty Paich, Paul Moer;  Trombone – Bobby Burgess, Ray Sims;  Trumpet – Jack Sheldon

R.I.P.
Born: February 26, 1925
Died:  May 8, 2017

A Pell Of A Time

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Rebecca Kilgore, Andy Brown - Together - Live

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 48:56
Size: 112,7 MB
Art: Front

(4:20) 1. The Touch of Your Lips (Live)
(3:33) 2. Better Than Anything (Live)
(4:26) 3. Can't Get out of This Mood (Live)
(4:00) 4. Nobody Else but Me (Live)
(4:31) 5. A Woman's Intuition (Live)
(3:20) 6. Rock Me to Sleep (Live)
(5:20) 7. The Gentle Rain (Live)
(3:27) 8. Give Me the Simple Life (Live)
(4:33) 9. Where Can I Go Without You (Live)
(3:43) 10. Destination Moon (Live)
(3:34) 11. Any Old Time (Live)
(4:03) 12. You Are There (Live)

Sometimes I hear music so touching that it leaves me rarely at a loss for words nearly speechless. The new duo CD by two of my heroes, Rebecca Kilgore and guitarist Andy Brown, did and does just that. It was recorded in performance fourteen months ago for Heavywood Records, and it is memorably intimate. But before I get my verbalizing together, perhaps you should hear what I hear, at least two delicious offerings. Listen to this (a song new to me, music by Victor Young, lyrics by Peggy Lee): or this, music by David “Buck” Wheat, lyrics by Bill Loughborough: Those performances should answer the question of why this disc is remarkable, but perhaps some words might be appropriate, like extra dressing on the already delicious salad. I think, first, that “TOGETHER” and “LIVE” are beautifully candid descriptions of what you will hear.

Rebecca and Andy have a wonderful unity, even though their respective individualities shine through it is as if they are wondrous listeners, the most sensitive and knowing musical conversationalists, who are both expert and eager to make something larger than their solitary selves spring into being. What results is warm, personal, and full of small sweet surprises. The fact that this lovely music came out of a live performance is both understandable and a triumph. Jazz clubs are full of people who, even if they are not dropping cutlery (something I have been guilty of in capital letters) are busy shifting in their chairs, inhaling and exhaling so many live recordings sound as if one is listening through a haze of low-level background noise, like looking at the beautiful landscape through eyeglasses that need a good cleaning.

Not here: the sound is warm but not clinical. And both Rebecca and Andy are professionals who create memorable music under the least happy circumstances the chilly isolation and pressure of the recording studio, and in Rebecca’s case, sometimes the “vocal booth,” which has all the physical ease of a coffin they sound happy and free here, making spacious music. There you have it. Two rewarding artists, a delightfully unhackneyed repertoire, a lovely intimacy. My only objection to this otherwise flawless CD is that I think the title needed an exclamation point. But no one asked me. You can read a little more about it in the liner note, but I urge you to go right into the deep end of the pool and (whisper it) make a purchase. It will reward your ears and heart. The music can be downloaded through Amazon, Apple, Spotify, and I think other sources. https://jazzlives.wordpress.com/2020/05/02/together-%E2%80%A2-live-rebecca-kilgore-andy-brown/

Together - Live

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Alexa Tarantino - Clarity

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 46:26
Size: 107,1 MB
Art: Front

(5:13) 1. Through
(4:06) 2. A Race Against Yourself
(4:42) 3. La Puerta
(5:14) 4. A Unified Front
(4:58) 5. Gregory Is Here
(6:06) 6. Karma
(4:44) 7. Breaking Cycles
(5:00) 8. Thank You For Your Silence
(6:20) 9. My Ship

Alto saxophonist Alexa Tarantino is an indefatigable spirit, plain and simple. In the past two years alone she's worked with everybody from trumpeter Wynton Marsalis to vocalist Cecile McLorin Salvant, held down the lead alto chair in The DIVA Jazz Orchestra, co-led the fiery LSAT quintet with baritone saxophonist Lauren Sevian, directed her self-founded Rockport Jazz Workshop, and appeared on more than a half dozen albums, including three collective-minded gatherings on the Posi-Tone imprint and her own debut for the label. Even homebound, in the age of COVID-19, she remains one of the busiest musicians on the scene. In the short span between late March and June of 2020 she launched a themed online concert series with pianist Steven Feifke, a Zoom chat called 'The Well-Rounded Musician" through Jazz at Lincoln Center, the musically-minded Alexa Abroad travel blog, and an online summer camp also in partnership with Feifke called A Step Ahead Jazz.

The aforementioned list is just a partial breakdown of what Tarantino's been up to, so to say she's busy and call her a rising star is a gross understatement. But to what does she owe all of that success and demand? Strong musical skills? Absolutely. A positive attitude toward work and personal improvement? Without a doubt. But it's more than that. If you boil it down to one word, it's clarity. There's clear understanding and meaning behind every artistic endeavor she creates and every job she takes on, and that most certainly includes the mantle of leadership. On Winds of Change (Posi-Tone, 2019) Tarantino demonstrated that by serving up a cross-section of material from different stages of her development, and with this follow-up date she changes gears by focusing on the now. Her originals, which account for about half of the playlist, were all penned within the year prior to this album's release, and the program in its entirety speaks to her strengths as a front figure, collaborator, composer, arranger and multi-instrumentalist.

Leading a well-built quartet that includes Feifke, bassist Joe Martin and drummer Rudy Royston, Tarantino toggles between instruments and moods like nobody's business. The album opens on "Through," a modal vehicle for her flute. Presenting with both cool traces and hard edges, it proves to be an alluring entrance to the set. "A Race Against Yourself," Tarantino's nod to her own internal drive and the difficulties inherent in keeping pace, follows. Providing the expected burn and a marked contrast to the opener, it also offers strong statements from the leader, Feifke and a rumbling Royston. Her two additional originals, spaced out across the album, further the picture of a musician who's both a team player and confident leader. "A Unified Front," which sourced the melody line of its first four bars by having each person in a group of friends provide one note apiece, rides an appealingly swinging line, and "Thank You For Your Silence," a groove-morphing vehicle that serves as a statement of self-trust, charms with its surprises.

The remaining material points to a variety of inspirations and ideals. Luis Demetrio's "La Puerta," a mellow and melodious vehicle which came to Tarantino through her work with Arturo O'Farrill's Afro-Latin Jazz Orchestra, is capped by a gorgeous alto cadenza. Horace Silver's "Gregory is Here," from In Pursuit of the 27th Man (Blue Note, 1973), finds a light Fender Rhodes glaze supporting a seductive soprano. Feifke's "Karma," with pivoting rhythmic posts guiding (or matching) the melody's direction, and saxophonist Levi Saelua's "Breaking Cycles," drawing from a bright harmonic palette, were both commissioned by Tarantino. And Kurt Weill's "My Ship," a balladic sendoff for the leader's alto flute, floats the album across its finish line. There's a good chance that Tarantino will have moved on to 10 other ideas or projects by the time these words are published, but that likelihood doesn't lessen the impact surrounding what she's accomplished here. Channeling personal resolve, passion and determination into a single statement, Alexa Tarantino provides a direct look at what clarity is all about.~ Dan Bilawsky https://www.allaboutjazz.com/clarity-alexa-tarantino-posi-tone-records

Personnel: Alexa Tarantino: saxophone, alto; Steven Feifke: piano; Joe Martin: bass; Rudy Royston: drums.

Clarity

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Bill Ramsey - Ballads, Streets & Blues

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 63:57
Size: 148,4 MB
Art: Front

(5:32) 1. Skylark
(5:32) 2. Tobacco Road
(3:32) 3. Moanin'
(4:03) 4. Old Roads
(3:52) 5. Wade in the Water
(5:38) 6. Understand
(2:52) 7. Route 66
(5:53) 8. All Blues
(4:21) 9. Wht You Don't Know Won't Hurt You
(4:18) 10. Windmills of My Mind
(5:24) 11. Doch of the Bay
(3:34) 12. Some Mornin's
(5:49) 13. There's a Lull in My Life
(3:30) 14. True Blue

Though born in the United States, vocalist/pianist Bill Ramsey became one of the most popular jazz and pop vocalists in Germany during the '50s and '60s. Born in Cincinnati, OH, on April 17, 1931, Ramsey first became interested in music via his amateur pianist father, who introduced him to such artists as Meade "Lux" Lewis and Albert Ammons. Consequently, inspired by those artists, as well as his hometown's eclectic music scene -- centered around the R&B, soul, and jazz coming out of Cincinnati-based King Records the young Ramsey taught himself how to play boogie-woogie piano by ear and began absorbing the sounds of such legendary blues and jazz artists as Big Bill Broonzy, Louis Jordan, Fats Waller, and Joe Williams.

Although he entered Yale University to study sociology, after the Korean War broke out he joined the Air Force and was stationed in Frankfurt, Germany. Ramsey's musical abilities soon came in handy as he acquired the position of "chief producer" for the American Forces Network in Frankfurt. Fortuitously, his program director at the station was Johnny Vrotsos, who himself was famed producer Norm Granz's connection in Germany. Subsequently, jobs recording any and every jazz artist that traveled through Frankfurt fell to Ramsey.

Eventually, Vrotsos caught on that his assistant was more than a good producer and began helping Ramsey book gigs singing and playing piano often at jazz festivals around Germany. These performances were wildly successful and Ramsey was even voted the number one jazz singer in Germany in a poll in a German jazz magazine.

After leaving the Air Force, Ramsey spent much of the mid-'50s studying music off and on at Frankfurt University, performing jazz throughout Europe and even appearing in some films. Such was his growing popularity in Germany that around 1957 he was approached by German producer Heinz Giezt to record some more pop and novelty-oriented material. The move paid off and a list of hit recordings followed, including a German version of "Purple People Eater," which became somewhat of a trademark song for Ramsey. Since the '60s, Ramsey has remained a popular performer and radio personality in Germany.~ Matt Collar https://www.allmusic.com/artist/bill-ramsey-mn0000492719/biography

Personnel: Vocals Bill Ramsey; Bass Hervé Jeanne; Drums Ralf Jackowski; Piano Achim Kück; Saxophone Peter Weniger

Ballads, Streets & Blues

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The Syd Lawrence Orchestra - Serenade In Blue

Styles: Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 65:52
Size: 153,3 MB
Art: Front

(3:34)  1. Perfidia
(4:00)  2. Moonlight Serenade
(2:50)  3. Pennysylvania-6500
(3:13)  4. Adios
(3:42)  5. Stardust
(2:52)  6. Elmer's Tune
(2:40)  7. Caribbean Clipper
(4:26)  8. Tuxedo Junction
(4:14)  9. I've Got A Gal In Kalamazoo
(3:39) 10. American Patrol
(3:42) 11. Frenesi
(3:19) 12. String Of Pearls
(4:50) 13. Serenade In Blue
(3:02) 14. Little Brown Jug
(3:43) 15. Chattanooga Choo Choo
(3:34) 16. In The Mood
(4:25) 17. At Last
(3:59) 18. St. Louis Blues

Founded in 1967 by trumpeter and arranger Syd Lawrence, The fabulous SYD LAWRENCE ORCHESTRA has been thrilling audiences in Concert Halls, Theatres, TV Shows and Music Festivals all over Great Britain and Continental Europe for over 40 years. Renowned for it’s exciting blend of high octane Big Band Swing and Classic Dance Music, the Orchestra’s repertoire ranges from the wartime million sellers of the legendary Glenn Miller through the era of the great Count Basie Orchestra to the hit songs of Frank Sinatra and Ella Fitzgerald. Count Basie himself described the Syd Lawrence Orchestra as “So good it should be BANNED!” and it has recently been voted “Best Big Band in the Land” for the eighth consecutive year. The Orchestra, directed since Syd’s retirement in 1996 by Chris Dean, has a repertoire of  over 1,200 classic Big Band titles including Glenn Miller´s “Moonlight Serenade” and “In the Mood”, Tommy Dorsey´s “I’m Getting Sentimental Over You” and “Opus One”, Benny Goodman´s “Sing, Sing, Sing”, Artie Shaw´s “Begin The Beguine”, Woody Herman’s “Blues on Parade”, Ray Anthony’s “Mr Anthony’s Boogie” , Duke Ellington’s “Satin Doll”, Bert Ambrose’s “Night Ride”, Count Basie´s “April in Paris” and “Splanky”, Charlie Barnet´s “Skyliner”, Stan Kenton´s “Peanut Vendor”, the “Trumpet Blues” of Harry James, “I’ve Got My Love To Keep Me Warm” of Les Brown, the hits of Billy May and Ted Heath’s “Hot Toddy”.

Hits from the Great American Songbooks of George Gershwin, Jerome Kern, Harold Arlen, Hoagy Carmichael, Irving Berlin and singers Frank Sinatra, Nat ‘King’ Cole, Sammy Davis Jr, Bing Crosby, Tony Bennett, Matt Monro, Ella Fitzgerald, Peggy Lee, Barbara Streisand etc are also featured in the programme.Chris Dean believes in leading the Orchestra with pace and good humour, performing the classics of the swing era in a way that entertains the audience. “The music is what people want to hear” says Chris, “information they can get in books, they come to a concert to be entertained, not to hear a lecture”. Chris’s aim has been to increase the number of young musicians playing Big Band Swing. Recent changes in personnel of the Orchestra have proved the worth of this ambition. The “new blood” of some of today’s finest young jazz musicians has brought a new fire and drive to the Orchestra’s performances which has been reflected in rave reviews and numerous Sold Out concerts.In Concert in addition to roaring Big Band numbers and Suites and Overtures no longer performed by any other orchestra, there are vocals from Bandleader Chris Dean and from Star guest vocalists. Also featured within the show is the wonderful close harmony singing of The Serenaders recreating the sound of vocal groups such as The Modernaires, The Pied Pipers and The Sentimentalists. A further attraction is the “Band within a Band” showcasing the jazz talents of soloists within the orchestra and adding yet another dimension to the performances. All concerts have to have a “big finish” and the Syd Lawrence Orchestra is no exception invariably finishing in traditional big band style with a spectacular Solo from star Drummer Dave Tandy.When playing for Dances the orchestra’s huge repertoire really comes into it’s own. The music of the Big Bands was originally written as dance music and its life and soul stems from its origin in dance. The Syd Lawrence Orchestra playing for dancing revives the romance, style and poetry of a bygone era, returning these beautifully constructed tunes to their original purpose. All these elements combine to make the Syd Lawrence Orchestra the most enduringly popular Big Band in Britain today. http://www.syd-lawrence-orchestra.com/index.php/about-us

Serenade In Blue

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Diana Panton - Yesterday Perhaps

Styles: Vocal

Year: 2007

File: MP3@320K/s

Time: 58:17

Size: 134,0 MB

Art: Front

(4:42)  1. That Old Feeling

(5:05)  2. Dindi

(3:21)  3. Plus Je T'embrasse

(5:23)  4. I'm A Fool To Want You

(4:37)  5. Isn't This A Lovely Day?

(4:04)  6. Summer Me, Winter Me

(4:18)  7. I Didn't Know What Time It Was

(2:48)  8. Les Feuilles Mortes

(4:11)  9. This Is Always

(3:37) 10. You Hit The Spot

(3:42) 11. I Get Along Without You

(4:52) 12. For All We Know

(3:08) 13. Stars Fell On Alabama

(2:27) 14. You'd Better Go Now

(3:21) 15. In The Wee Small Hours

2005 was a great year for “…yesterday perhaps”! The album was named one of the TOP 10 releases of the year by Len Dobbin (Montreal Mirror), Tim Perlich (Toronto’s NOW Magazine) and Dan Sich (!earshot). It was a highlight in year-end reviews by Ric Taylor (VIEW Magazine) and Leonard Turnevicius (Hamilton Spectator). Diana was nominated for four Hamilton Music Scene Awards and won for “Best Jazz Recording” and the People’s Choice Award for “Best Live Performance” (thanks to all who voted). In 2011, ...yesterday perhaps was awarded a Silver Disc Award by Jazz Critique Magazine upon its release in Japan.

Canadian jazz vocalist Diana Panton has already released three albums in Japan. She is not an overdramatic singer. The charm of her singing style can be found in its unique soft expressiveness. Her music can soothe you even when listening in a casual way. This comforting quality found in her singing is one of the causes of her popularity. I'm happy that her previously unavailable debut album has finally been released in Japan, and above all, I am very satisfied with the quality of the album. Reg Schwager's guitar is very beautiful and Diana has a great chemistry with Don Thompson's piano too. The album gives warmth to a cold winter's night. ~ Hijiri Kanno, Jazz Life  http://www.dianapanton.com/releases-yesterday.html

Personnel:  Diana Panton - vocal;  Reg Schwager - guitar;  Don Thompson - bass, piano, vibes

Yesterday Perhaps

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Kathy Sanborn - Small Galaxy

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 37:14
Size: 86,2 MB
Art: Front

(3:35) 1. Small Galaxy
(4:08) 2. Oh So Real
(3:46) 3. Be Coolin'
(3:50) 4. More Than You
(3:04) 5. Got Me Runnin'
(3:38) 6. Time To Shine
(3:21) 7. Himalaya
(4:02) 8. Lost At Sea
(4:10) 9. Catalunya Breeze
(3:34) 10. Catch The Wave

The record release of the new work by the composer, vocalist and pianist Kathy Sanborn will take place in the first days of April, although it will be from March 15 when radio stations in the United States and Europe begin to program the 10 songs. of which the album is composed. Already in the year 2008, Kathy Sanborn , surprised the specialized critics with a first album full of freshness and good compositions. “Peaceful Sounds” masterfully mixed Kathy Sanborn's velvety voice and musical genres as varied as Jazz , New Age and even Pop.. With this first album, Kathy Sanborn laid the foundations for an excellent artistic career and the new record material that is about to be released has raised real expectations, both among specialized critics and the general public. "Small Galaxy" will be released by Pacific Coast Jazz Records and we are sure that it will be an album that will give a lot to talk about. We cannot forget that Kathy Sanborn is well known for her silky and pleasant vocal range.

In this new job, Kathy SanbornHe is going to be fully involved, both in the composition of the lyrics and in the musical arrangements. And it is that once again, as he did in his previous record work, he mixes Latin sounds and rhythms with musical genres such as R&B and Jazz , adding, as expected, that Pop ingredient , which makes the songs melt. listen with real interest. In addition to her contribution as a composer, we must not forget that we are dealing with an excellent musician. Kathy sanbornThroughout the ten themes of the album, he reliably plays keyboards, piano, bass, drums, percussion and everything related to programming, without forgetting that he also deals with choirs and integrates the album production. In this new musical adventure, Mrs. Sanborn will be accompanied by musician and trumpeter Wayne Ricci . Kathy Sanborn's new work starts with the title track of the album; we will also find songs like "Oh So Real" , "More Than You" , "Himalaya" or the one dedicated to Spain and entitled "Catalunya Breeze" . The common denominator in all the songs ofKathy Sanborn will be, without a doubt, her excellent voice, which alternates with fresh and well-constructed compositions. In short, a good option for those who like quality music. Translate By Google https://www.nosolosmoothjazz.com/2010/03/14/kathy-sanborn-small-galaxy/

Personnel: Kathy Sanborn (vocals); Wayne Ricci (trumpet)

Small Galaxy

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Enric Peidro & Richard Busiakiewicz - On The Move

Styles: Saxophone And Piano Jazz, Swing
Year: 2016
File: MP3@320K/s
Time: 42:16
Size: 97,2 MB
Art: Front

(6:59) 1. You'd be so nice to come home to
(6:10) 2. Dainty
(4:45) 3. Nancy (With the laughing face)
(6:26) 4. Sunday
(7:30) 5. Love me or leave me
(4:01) 6. If I had you
(6:21) 7. Just squeeze me

Second album as a duo by Enric Peidro and Richard Busiakiewicz, This new Cd is also recorded live (as was their first Cd,entitled "Make someone happy") over two conscutive live performances in Nov 2015. In this relesase,the two players keep swingin' in their characteristic classy.easy-going way and displaying a great deal of musical rapport between them along the way. https://enricpeidro.bandcamp.com/album/on-the-move

Personnel: Enric Peidro - Tenor sax; Richard Busiakiewicz - Piano

On The Move

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New York Jazz Ensemble, Woody Allen - The Bunk Project

Styles: Jazz, Big Band
Year: 1993
File: MP3@320K/s
Time: 61:34
Size: 143,2 MB
Art: Front

(3:25) 1. In The Sweet By'n'By
(3:47) 2. The Old Rugged Cross
(3:18) 3. Margie
(5:19) 4. Mecca Flats Blues
(5:55) 5. Over In The Gloryland
(3:14) 6. Algiers Strut
(6:04) 7. What A Friend We Have In Jesus
(4:27) 8. Sobbin' Blues
(3:05) 9. Bogalusa Strut
(4:05) 10. Black Cat Blues
(5:22) 11. Red Light Blues
(3:23) 12. All The Whores Like The Way I Ride
(5:06) 13. Burgundy Street Blues
(4:57) 14. Weary Blues

For a bunch of players from New York, this ad hoc group does a pretty solid job of assaying New Orleans jazz circa the 1920s especially the amateur clarinetist, a balding, bookish-looking guy with red hair and glasses. Actually, no matter how well they played, this record probably would never have been released were it not for the participation of Woody Allen, who’s been spending his Monday nights for the last couple of decades playing just this kind of stuff at Michael’s Pub in Manhattan. But it’s no ego-induced star turn--Allen really does function as just one member of this band assembled by banjo player Eddy Davis. The album gets its name from one of the great early New Orleans cornet players: Bunk Johnson. It was Johnson and his peers--players such as Sidney Bechet and George Lewis who inspired Allen to try his hand as a jazz man. It’s not technically complicated music, but it can be emotionally rich. To play it correctly requires more heart than chops, and in that department, Allen is well suited to the task

As a soloist, he’s less assertive to the point of sounding timid occasionally than the other front-line players, trumpeters Simon Wettenhall and Peter Ecklund and trombonists Dan Barrett and Graham Stewart. But he has the right sound: his clarinet playing teeters on that edge between a cry and a squawk as the band moves from dirges to hymns to street-parade rave-ups. When I saw Allen play at Michael’s several years ago, I wondered how he could look so pained while playing music that’s so joyful. Here, only in the final cut, “Weary Blues,” does Allen sound like he’s given himself over to the spirit of the music. Then again, that state of musical nirvana is something that amateur and professional alike struggle to achieve. As for the sonic quality, the sessions were recorded in what must have been a cavernous room at the Harkness House in New York with what sounds like a single microphone placed, at times, at the far end of that room. In other words, no audiophiles allowed. Like the music itself, it all but shouts: “Strictly for fun.”By Randy Lewis https://www.latimes.com/archives/la-xpm-1993-08-05-ol-20439-story.html

The Bunk Project

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