Judy Carmichael - ...And Basie Called Her Stride

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 49:34
Size: 114,3 MB
Art: Front

(3:29)  1. Christopher Columbus
(2:57)  2. Viper's Drag
(2:48)  3. Snowy Morning Blues
(2:38)  4. Lady Be Good
(4:36)  5. Jada
(2:23)  6. Rosetta
(3:50)  7. Keepin' Out of Mischief
(3:36)  8. Honeysuckle Rose
(4:02)  9. Ain't Misbehavin'
(2:44) 10. I Found a New Baby
(2:43) 11. Jitterbug Waltz
(2:45) 12. Handful Of Keys
(4:16) 13. I Ain't Got Nobody
(3:03) 14. Carolina Shout
(3:37) 15. I Would Do Anything for You

Jazz pianist Judy Carmichael, whom critics have called "astounding, flawless and captivating" (New York Times), is one of the leading interpreters of classic jazz piano. Ms. Carmichael has written two books on stride piano and numerous articles on the subject of jazz. She has received a number of grants from the National Endowment for the Arts, a Grammy nomination, and toured extensively throughout the world. She has appeared frequently on Garrison Keillor's A Prairie Home Companion, has been featured on National Public Radio's Morning Edition, CBS Sunday Morning, and Entertainment Tonight. Judy Carmichael's Jazz Inspired is produced in association with Steinway & Sons. http://www.cdbaby.com/cd/carmichaeljudy2

"Judy Carmichael's music accomplishes what all great art should - feelings of joy, delight, hope and the knowledge that what you are experiencing is very real and honest. Anyone who wants some real theatre should go to one of her concerts - lots of fun." ~ F. Murray Abraham

"Judy Carmichael's witty, ebullient pianism recalls us to the joy of spirit in classical jazz. More power to her!" ~ E.L. Doctorow

"How can this slender and elegant woman play with the strength of a truck driver and the energy of a Tom cat - some mysteries are meant not to be revealed." ~ Milton Glaser

"Judy Carmichael is a great entertainer. Her playing is masterly and her linking material show her to be a raconteur in the Ustinov mold." ~ Jonathan James Moore, BBC Radio

"...is an exhilarating positive pianist with a virtually flawless technique." The New York Times

...And Basie Called Her Stride

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Chano Domínguez - Chabem

Styles: Piano Jazz
File: MP3@320K/s
Time: 54:55
Size: 129,9 MB
Art: Front

(4:57) 1. Capricho de Espanha
(3:47) 2. Para Chick
(3:47) 3. Afro Flamenco
(6:15) 4. Olha Maria
(3:56) 5. Chumbulum
(7:10) 6. Zyryab
(4:49) 7. A Mi Padre
(5:56) 8. Santa Morena
(4:18) 9. Em Nome Da Esperança
(4:07) 10. Luz de Vida
(5:48) 11. Carinhoso

Spanish pianist Chano Dominguez has achieved an unusual integration between the rhythms and languages of modern jazz and the entire lineage of flamenco. While many musicians have attempted this fusion with varying degrees of success Dominguez has created a unique idiosyncratic style from them. His 20th century recordings Más Allá de Nuestras Mentes Diminutas (1978), Noche Abierta (1979), and Canción de Primavera (1980), not only established his reputation at home as a pianist and composer, they put his name on the map in Europe and Asia as a true musical innovator. Since then, Dominguez has established a groundbreaking partnership with Paco De Lucia on acclaimed albums such as 1997's En Directo. His own recordings, including 2008's Cuentos del Mundo, 2014's Chano & Josele with guitarist Niño Josele, and 2015's Soleando with WDR Big Band Cologne have forged a new direction not only for flamenco but also for modern jazz.

Born in Cadiz in 1960, Dominguez started playing flamenco guitar around age eight before moving on to the piano. In his twenties he formed the progressive Latin rock ensemble CAI, who released three albums for CBS. After the group disbanded in 1981, Dominguez pursued a solo career. He quickly garnered several awards for his innovative mix of flamenco and jazz, including First Prize in the National Jazz Competition for Young Interpreters in 1992. A year later, he released his debut solo album, Chano, and relocated to New York City. Several more well-received albums followed, including 1995's Paco de Lucia-themed 10 de Paco and 1997's En Directo. The 2000s saw Dominguez release a steady stream of forward-thinking, cross-cultural albums, including 2001's I Si!, 2002's Hecho a Mano, 2006's Acercate Mas, and 2007's New Flamenco Sound. Also in 2007, he appeared alongside saxophonist Paquito D'Rivera in the concert film Quartier Latin. A year later, he delivered Cuentos del Mundo.

In 2010, Dominguez earned a Latin Grammy Award nomination for his album Piano Ibérico. Two years later, he returned with Flamenco Sketches, a re-visioning of Miles Davis' Kind of Blue that peaked at number eight on the international jazz album chart. He then teamed with contemporary flamenco guitarist Niño Josele for Chano & Josele. In 2017, he delivered the intimate solo piano album Over the Rainbow, recorded live at Barcelona's Palau Falguera, and followed it a year later with the collaborative album Chano & Colina (with Spanish jazz bassist Javier Colina) on Sunnyside Communications. While appearing at the 2017 Jazzahead Conference in Bremen, Germany, the pianist met the acclaimed Israeli flutist Hadar Noiberg after she heard his set. She introduced herself and proposed that the two work together. Since they each lived in Brooklyn, New York and, as fate would have it, mere blocks apart they began rehearsing together informally at first, whenever they were in the city at the same time.

The duo found their approaches to music fit well together; both had backgrounds in jazz and classical music along with a love for a variety of Latin music. Dominguez's Spanish influences were not foreign to Noiberg, her background in the widely eclectic music of Israel provided touchstones to the Iberian Peninsula, and further, her own involvement with Latin American music gave her a grounding in its rhythmic ideas. Further, many of the Israeli folkloric pieces that Noiberg introduced to Dominguez reminded him of holiday tunes from his native Andalusia. After rehearsing, performing, and developing a collective sound, the pair took their new repertoire and made a formal recording at Trading 8s Studios in Paramus, New Jersey. The duo set was issued as Paramus in 2019.~Matt Collor https://www.allmusic.com/artist/chano-dom%C3%ADnguez-mn0000199906/biography

Chabem

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Sue Moreno & Jack Rabbit Slim - One Track Mind

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 30:46
Size: 71,9 MB
Art: Front

(2:26) 1. One Track Mind
(2:09) 2. The Fire Is A Burnin
(2:28) 3. Too Late
(2:24) 4. Time Is a Wastin' (Sue Moreno Version)
(2:53) 5. Gone Gone Gone
(2:06) 6. Don't Hurt Me Baby
(2:24) 7. Gotta Get Back Home Somehow
(2:40) 8. What About Tomorrow
(2:01) 9. Record Hop
(1:57) 10. Good Girls Gonna Go Bad
(2:25) 11. Cinderella Story
(2:23) 12. Walkin' With Angels
(2:26) 13. Time Is a Wastin' (Duet with Bob Butfoy)

We’ve come to know Sue Moreno as a passionate vocalist, songwriter and performer who with her unique style, natural class, charisma and warm personality knows how to move her audience. Starting with a solid base of Americana, Ms. Moreno adds a variety of musical styles: Classic country & gospel, jazz and vintage pop to create her own unique sound. Her show concepts have taken her all over the world, with performances and tours in Europe and America to Scandinavia and South-America. She’s played sold-out residential shows and traveled with succesful theater tours in the Netherlands and Europe. Sue has worked with many well-known musicians and artists and can be seen & heard with her own jazz combo as well as guesting with a number of big bands and received awards for various stellar performances.

Her vocals can be heard in commercials like Flowerbomb perfume of Fashion House V&R and various themes for Otazu Jewellery. Her music has been used on the catwalk in Paris. She could be seen in campaigns for the Spanish glamour magazine ‘Imagen y Belleza’ and Sil USA. In 2014 her Glamour Calendar came out, a collaboration with star photographer Govert de Roos. Her record debut Dream You (2002) opened many doors allowing Sue to perform outside the Netherlands. Sue’s next album Drivin’ on the Highway of Love (2004) showcased her own compositions, proving her to be a formidable song writing talent. That same year she contributed to the big band album Night and Day (2004) and one of her tracks, Cry Me a River, made it to the top 10 in South-Africa. Bye Bye Blues (2006) was a collaboration with Italian guitarist Marco di Maggio. A tour in Italy followed and due to many requests the record was re-released in 2009 with extra songs.

As Sue was working hard on her jazzy lounge-nightclub shows she was noticed by producer Eddy de Clercq who asked her to collaborate with him for his outstanding Music for Catwalks project (2008). The music was performed on huge fashion events in Europe. Sue has impressed audiences with her charismatic performances during ‘the Country Music Hall of Fame’ tour throughout the Netherlands and Belgium and at gospelevents in her country. In 2008 she left for Los Angeles for a concert tour while taking songwriting sessions with studio musicians, some of which were released on One Track Mind (2009), a collaboration with the popular Uk band Jack Rabbit Slim. In both 2010 and 2011 Sue starred in a European tour with the original bandmembers of Elvis Presley.

A typical indie, do-it-yourself artist, she left for Nashville in 2012 to write & record songs with renowned musicians. The result was her acclaimed album City by Night (2014), featuring much of her own work sung with a different, pure and almost smoky sound, touched with a hint of vulnerability, colored with exotic influences. Shows followed in Nashville and The United States, as well as tours in Europe with the Nashvillians. n 2016 Sue contributed to an Elvis tribute project called Duets (2016). And showed yet another side of herself with the release of The Long and Winding Road (2018) recorded with a grand orchestra, released on her own label Heavenly Records. In 2019 Sue began writing again and set off to record in Memphis, USA. Grammy winners and legendary musicians of Royal and Stax fame have joined forces once again to collaborate with her on these recordings and to accompany her with their unmistakable Memphis Soul sound. How’s it going? To quote pianist Lester Snell ‘You Got what it takes, girl!’ Talk about respect. Says enough, yes? https://www.suemoreno.com/about-me/

One Track Mind

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Barbara Morrison - I Love You, Yes I Do

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 58:30
Size: 134,5 MB
Art: Front

(5:02)  1. Save Your Love For Me
(4:07)  2. And I Love Him
(5:24)  3. For The Love Of You
(3:47)  4. Blow Top Blues
(6:44)  5. Canadian Sunset
(4:26)  6. I Had a Talk With My Man Last Night
(5:12)  7. Trust In Me
(3:33)  8. I Didn't Know What Time It Was
(5:40)  9. Who Can I Turn To?
(4:56) 10. If It's The Last Thing I Do
(5:16) 11. Black Eyed Blues
(4:18) 12. I Love You Yes I Do

Being tense can cause creative blocks be they in music or in life, Barbara Morrison teams up with Houston Person for a celebration of song and life with I Love You, Yes I Do. Singers sing, vocal artists can take you places and this is the wheel house of Barbara Morrison. Houston Person is one of the most versatile tenor players having successfully worked in virtually every genre music imaginable.  What makes this release work so well aside from the obvious chemistry would be that the songs go deep catalog. Morrison avoids some of the more cliché tunes and opts for songs such as the Isley Brothers classic "For The Love Of You" and then simply crushes the Great American Songbook classic from Rogers and Hart, "I Didn't Know What Time It Was."There is a vibrant spirit to Morrison as she does more than sings the words, she makes the music. Houston Person is her perfect counterpoint while the rhythm section understands their roles in this improvisational exploratory of song and they are first rate!  There is something here for everyone. Nothing to grind on and perhaps the best review would be to call I Love You, Yes I Do a big lyrical hug! Fantastic! ~ Brent Black  http://www.criticaljazz.com/2014/08/barbara-morrison-i-love-you-yes-i-do.html                                                                                                                                                                                                                                                                                                                                                                        
Personnel: Barbara Morrison: Vocals; Houston Person: Tenor Sax; Stuart Elster: Piano; Richard Simon: Bass; Lee Spath: Drums.

I Love You, Yes I Do

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Ray Blue - Berries and Blues

Styles: Saxophone Jazz
Year: 2017
File: MP3@128K/s
Time: 48:48
Size: 45,7 MB

(0:47) 1. Lift Every Voice and Sing
(5:20) 2. Baby Just Tell Me
(4:49) 3. Berries for Breakfast
(5:37) 4. There Is No Greater Love
(8:10) 5. Stella by Starlight
(5:25) 6. Work
(6:10) 7. Strollin
(6:26) 8. Here We Go
(5:21) 9. Ubuntu
(0:39) 10. Amazing Grace

Ray Blue - a big saxophone sound that touches your soul. Saxophonist Ray Blue has a sound and style that are energetic, powerful, and sensitive. Ray takes you for a musical ride that is characterized by passion and precision. He delivers dynamic poetic phrases, strong grooves and leaves audiences wanting more. A Ray Blue Music Experience stays with you for a long time. “Ray Blue has a majestic presence. When playing, his sense of purpose is obvious. As evidence of that - people’s enthralled smile. It's one thing to be a good composer it's another to be a great performer. Ray Blue's got the whole package.” (Jean Szlamowicz, Jazz Hot, Down Beat)

“Growing up in New York in a musically rich environment, I learned an appreciation for all music”, Ray says. “Through music I am able to help people experience wonderful moments… I love what I do, whether performing, composing or just listening ...music is wonderful. I want to bring people together to share and gain an understanding of the music and one another”. Having studied music and performed all his life, Ray began playing clarinet at age 8 and added tenor saxophone and bass clarinet at age 14. “My Jr. High School music teacher introduced the class to ‘Kind of Blue’ by Miles Davis. ‘This is your music’, he said. That was it for me.”

Jazz, r&b and soul music became Ray’s passion in High School and he started playing for dances and in clubs at age 15. During these years he was nurtured by several musicians in his community: the late Dr. Jesse J. Johnson, Dr. Art Davis, Asbury “Sticks” Medowbrook and Vince Corozine as well as his contemporaries, Chip White and Michael Cochrane. Ray learned to be a student of the music, the importance of being an avid listener and to embrace the tradition of jazz.

He later studied at the Jazz Mobile with Charles Davis also with Paul Jeffreys, Charlie Lagond, Sonny Sharrock and was mentored by Arthur Blythe and Ornette Coleman, with whom he maintains a close relationship. Ray Blue is a graduate of the University of Iowa and Wm. Penn University, which annually presents “The Ray Blue Jazz Award” to a graduating senior.

Over the years, Ray played in jazz, blues and r&b bands on the New York scene and learned from veteran musicians in a variety of contexts. He honed his skills as a saxophonist, composer and leader performing in clubs, concerts, at festivals and recorded with bands for Columbia Records, RCA Records and several Independent record labels. Ray has performed with a host world known musicians including Steve Turre, John Gilmore, Michael Cochrane, Eddie Henderson, Gary Bartz, Clfford Adams, T.K. Blue, Victor Jones, Joe Ford and Blues Legend Bob Gaddy, The Sun Ra Arkestra, The Cotton Club All Stars and others. He is also a main stay with the Spirit of Life Ensemble. As a leader; John Patton, Wycliff Gordon, Michael Cochrane, Ed Cherry, Larry Willis, John Betch, Wayne Dockery, Bobby Battle, Bruce Cox, Benny Powell, Chip White, Calvin Hill and many more have shared the stage and studio with Ray. Ray performs on numerous world stages connecting people with his music.

His festival performances as leader and featured artist include: Zanzibar International Film Festival, Zanzibar, Tanzania; North Sea Jazz Festival-Cape Town, South Africa; Macufe Festival-Bloemfontain, South Africa; European Union Annex Festival-Dublin, Ireland; Audi Jazz Festival-Brussels, Belgium; Macao Jazz Festival, China; The Newport in New York Festival, New York, New York; New York State Black Arts Festival-Albany, New York; Köpenick Jazz Festival-Berlin, Germany; Midi Music Festival-Beijing, China; Pori Jazz Festival, Finland; Foix Jazz Festival, France; Bayonne Jazz Festival, France and others. Ray released his first CD, Always with a Purpose, in 2001. Then came “Ray Blue Live at Liars Theater” in 2004 and “Ray Blue Live at Liars Theater 2” in 2005. And in 2006 Ray released ‘Transvision’ on the Neu Klang label. Most of the songs were composed while traveling and meeting people around the world…”It's a celebration of friendships.”

A monumental experience for Ray was to establish a connection in Africa and in 2003 he visited South Africa for the first time. While performing with South African musicians, conducting jazz and educational workshops, a unique blend of musical language was being formed. This was a fusion of American and African cultures, rhythms and melodies. People listened, danced, smiled and it happened everywhere his music was performed. For Ray this was “like coming back home.” Ray returns to Africa each year to perform, study and conduct workshops. He is now working on an American-African World Music production for a new release. Mr. Blue is also an educator/clinician and he consults at colleges, universities, schools and communities around the world. He is the founder of Cross-Cultural Connection, Inc. a 501 (c) 3 performance and educational organization that promotes jazz in educational and community institutions. Ray Blue lives in New York, U.S.A. and Berlin, Germany. https://www.allaboutjazz.com/musicians/ray-blue

Berries and Blues

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Michael Feinstein - Gershwin Country

Styles: Vocal
File: MP3@320K/s
Time: 41:18
Size: 95,7 MB
Art: Front

(3:27) 1. Love Is Here To Stay
(3:15) 2. I've Got A Crush On You
(4:46) 3. Someone To Watch Over Me
(3:19) 4. I Got Rhythm
(3:16) 5. They Can't Take That Away From Me
(3:35) 6. Clap Yo' Hands
(4:33) 7. How Long Has This Been Going On?
(3:10) 8. Fascinating Rhythm
(3:31) 9. Soon
(3:48) 10. Oh! Lady Be Good
(4:32) 11. Embraceable You

Though Michael Feinstein remained in the public eye throughout the latter half of the 2010s, performing live and appearing intermittently as a presenter on the Turner Classic Movies network, the onetime Ira Gershwin archivist went nearly a decade without releasing any albums. It was his first gap of more than two years since his 1987 studio debut, Pure Gershwin. He comes back to key influences George and Ira Gershwin, for more than the first time, on his return, 2022's Gershwin Country. A set of 11 duets, each with different guests, it navigates timeless romantic ballads and what prove to be playfully old-fashioned, vaudeville-esque takes with giants of country music (and one with album executive producer Liza Minnelli). It opens with perhaps the most country-forward arrangement of the set, "Love Is Here to Stay," featuring Dolly Parton. The song's gentle steel guitar, fiddle, mandolin, accordion, and rhythm section, alongside Parton's sincere, timeworn vocals, add just the right rustic touch to the swing-era love song, which, like the rest of the selections, sees Feinstein trade lines with his guest.

Generally speaking, the ballads work best here: a lovely vocal performance by Alison Krauss highlights "Someone to Watch Over Me," and Amy Grant helps deliver a graceful, straightforward version of "They Can't Take That Away from Me," while the more complex chord progressions and key changes of "I've Got a Crush on You" with Rosanne Cash fall more in the category of "twangy jazz." A song-appropriate slinkiness adds nuance to Feinstein and Mandy Barnett's version of "How Long Has This Been Going On?" Far from sentimental throughout, the album sees Brad Paisley deliver a rousing, stick-clacking "I Got Rhythm," including a memorable guitar solo that kicks off a series of rotating band solos and includes a quote of The Andy Griffith Show theme ("The Fishin' Hole"). Elsewhere, "Fascinating Rhythm," performed by Feinstein with Vince Gill and the Time Jumpers, even includes jump blues-style group response parts. However, the record leaves listeners on an elegant, only vaguely twangy edition of "Embraceable You" by Feinstein and Minnelli. Since, taken together, the set lands in crossover territory, only swaying toward traditional country from show tune jazz, (pun opportunity aside) the album perhaps should have been titled Country Gershwin, as the balance tips toward the songwriters.~Marcy Donelsonhttps://www.allmusic.com/album/gershwin-country-mw0003652456

Gershwin Country

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Allan Vaché, Antti Sarpila, Ken Peplowski - Summit Meeting

Size: 181,3 MB
Time: 78:47
File: MP3 @ 320K/s
Released: 1995
Styles: Clarinet And Saxophone Jazz
Art: Front

1. Original Dixieland One Step (6:29)
2. What Can I Say After I Say I'm Sorry (3:29)
3. Air Mail Special (4:50)
4. These Foolish Things (4:15)
5. Cherry (9:53)
6. Royal Garden Blues (5:25)
7. You'll Always Be Mine (3:09)
8. Nuages (3:23)
9. A Shanty In Old Shanty Town (4:48)
10. Yellow Dog Blues (5:30)
11. Who's Sorry Now (8:05)
12. I've Started All Over Again (4:48)
13. Blues # 3 (7:57)
14. Bye Bye Blues (6:41)

The day before this CD was made, clarinetists Allan Vache and Antti Sarpila recorded the enjoyable Swing Is Here in Hamburg, Germany. Ken Peplowski, himself a notable clarinetist, was in town and was hoping to sit in, so another session was arranged for the following day. Pianist Mark Shane, bassist Len Skeat and drummer Joe Ascione keep the proceedings moving while the three clarinetists play many heated passages. Sarpila doubles on soprano, while Peplowski contributes some tenor, but it is when all three are matching wits on clarinet that this set approaches the classic level. Highlights of the Dixieland/swing material include "Original Dixieland One Step," "Air Mail Special," "Royal Garden Blues" and "Bye Bye Blues." A clarinet fanatic's dream.~Scott Yanowhttps://www.allmusic.com/album/summit-meeting-mw0000066372

Personnel: Allan Vache (clarinet); Antti Sarpila (soprano saxophone, clarinet); Ken Peplowski (tenor saxophone, clarinet); Mark Shane (piano); Len Skeat (bass); Joe Ascione (drums)

Summit Meeting

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Gary Smulyan - Hidden Treasures

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:48
Size: 137,4 MB
Art: Front

(4:30)  1. Stretch In F
(7:08)  2. Wail Bait
(5:30)  3. Bud's Idea
(3:09)  4. A Woman Always Understands
(5:48)  5. House Of Chan
(6:24)  6. Omicron
(6:19)  7. A Rose For Wray
(6:46)  8. Off The Cuff
(5:43)  9. Jahbero
(8:27) 10. Fifth House

Hidden Treasures smokes from the very first cut. Joined here by bassist Christian McBride and drummer Billy Drummond, Gary Smulyan makes a major statement with every new release. He eschewed smaltz for hard swing on Gary Smulyan with Strings. On Blues Suite he played fiery baritone sax with a brass section. He led a straight-ahead, take-no-prisoners quintet on The Real Deal.  On Hidden Treasures his pared-down ensemble produces such a plethora of rhythmic and harmonic colors that a piano isn't missed. The gritty might of Smulyan's blowing is like a blast of coffee chased by McBride's brown sugar arco and pizzicato flights and Drummond's smooth chocolate milk accompaniment, stirring a fine blend on sticks and brushes throughout.  Their groove on Quincy Jones' "Wail Bait" strolls the tempo a notch lower than the high-velocity opener. McBride shares the melody line with Smulyan on "Bud's Idea" with striking ease. "A Woman Always Understands" is a brief romantic reverie; Phil Woods' "House of Chan" is a showcase yet again for McBride's mastery, finding Smulyan spurred by breaks and Drummond's bebop bombs.

On Donald Byrd's "Omicron," the three players trade inspired eights, fours and twos. The bossa "A Rose for Wray" by Harold Vick has Smulyan in the mood with a sly embedded quote of "I Love You." Judicious use of space is the place on Jim McNeely's unorthodox "Off the Cuff." Tadd Dameron's "Jahbero," based on the "All the Things You Are" changes, takes the trio right back into the pocket. John Coltrane's "Fifth House" rounds out a select set of tunes that are hidden treasures by virtue of their relative obscurity. But they've found a home on this top-flight recording by Smulyan. You may find that each song has an air of familiarity, since each is actually based on a better-known composition. ~ Greg Thomas  http://www.allaboutjazz.com/hidden-treasures-gary-smulyan-reservoir-music-review-by-greg-thomas.php
 

Personnel: Gary Smulyan: baritone saxophone; Christian McBride: bass; Billy Drummond: drums.

Hidden Treasures

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Ellyn Rucker - This Heart Of Mine

Styles: Vocal And Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 58:03
Size: 135,0 MB
Art: Front

(6:29) 1. I Never Get Enough Of You
(4:40) 2. Sweet Lorraine (Ball & Chain)
(5:06) 3. At Long Last Love
(6:32) 4. Waltz For Debby
(3:48) 5. Get Out Of Town
(8:48) 6. Born To Be Blue
(4:14) 7. Stompin' At The Savoy
(5:35) 8. All This & Heaven Too
(5:50) 9. Gee Baby Ain't I Good To You
(6:56) 10. Solo Medley (Turn Out The Stars - This Heart Of Mine)

Pianist/vocalist Ellyn Rucker's second Capri release (a trio outing with bassist Red Mitchell and drummer Marvin "Smitty" Smith) is even better than her first. A particularly strong pianist soloist who is also the perfect accompanist for her soft-toned vocals, Rucker has long fallen into the "underrated" category due to her decision to live in Denver. However, as she shows throughout this CD, she is a world-class performer who deserves to be much better-known.~Scott Yanow https://www.allmusic.com/album/this-heart-of-mine-mw0000269973

Personnel: Ellyn Rucker - Piano, Vocals; Red Mitchell - Bass; Marvin "Smitty" Smith - Drums

This Heart Of Mine

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Curtis Stigers - This life

Styles: Vocal
File: MP3@320K/s
Time: 58:08
Size: 135,9 MB
Art: Front

(4:43) 1. (What's so funny 'bout) Peace, Love, and Understanding
(5:58) 2. You're all that matters to me
(5:58) 3. I don't wanna talk about it now
(4:59) 4. I wonder why
(3:35) 5. This life
(4:43) 6. Keep me from the cold
(4:24) 7. Summertime
(4:26) 8. Don't go far
(7:11) 9. Tonight will be fine
(7:41) 10. Swingin' down at 10th & main
(4:23) 11. Never saw a miracle

Curtis Stigers is kicking off 2022 by revisiting some of his biggest hits for new album ‘This Life’, released on 25th February. For ‘This Life’ Stigers has revisited his early successes (and a couple of later ones) and put a jazz spin on them including ‘I Wonder Why’ and ‘You’re All That Matters To Me’. The repertoire includes a new version of Nick Lowe’s ‘(What’s So Funny ‘Bout) Peace, Love, And Understanding), which Stigers originally recorded in 1992 for the smash hit film soundtrack of ‘The Bodyguard’ starring Whitney Houston and Kevin Costner.

Also included is a fresh rendition of ‘This Life’, the Emmy-nominated theme song Curtis co-wrote and recorded in 2008 for the popular TV show ‘Sons Of Anarchy’. “I don’t tend to look back much, musically speaking”, Curtis Stigers states in the liner notes to his new album ‘This Life’. “However, this time I set out with a plan to record songs from my previous twelve studio albums that I now play live in concert in a distinctly different way than I recorded them originally. Songs and arrangements grow and evolve from their recorded versions over time, as we play them again and again for audiences.” Pip Ellwood-Hugheshttps://entertainment-focus.com/2021/12/14/curtis-stigers-revisits-his-hits-on-new-album-this-life/

This life

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Danny Grissett - Form

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 60:01
Size: 137,8 MB
Art: Front

( 9:22)  1. King Cobra
( 8:09)  2. Heard's Word
( 9:43)  3. Without You
( 7:44)  4. Let's Face the Music and Dance
( 7:40)  5. Distant
( 7:16)  6. Ugly Beauty
(10:03)  7. Are We There Yet?

A sparkling pianist as well as a fine budding composer, Danny Grissett's star has been on the rise lately and he's a favorite accompanist to a growing body of leaders including trumpeters Jim Rotondi, Jeremy Pelt, and Tom Harrell. He returns for his third Criss Cross release and moves past the trio format to feature tenor saxophonist Seamus Blake, trombonist Steve Davis and newcomer Ambrose Akinmusire on trumpet. Grissett puts his stamp on all the material including updates on Herbie Hancock's King Cobra, and Monk's Ugly Beauty. His originals are also cut from a regal cloth of originality, with bassist Vicente Archer and drummer Kendrick Scott responsive to the pianist's every move.https://www.cduniverse.com/productinfo.asp?pid=7908835&style=music

Personnel: Danny Grissett (piano); Seamus Blake (tenor saxophone); Ambrose Akinmusire (trumpet); Steve Davis (trombone); Vicente Archer (bass instrument); Kendrick Scott (drums).

Form

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Ellyn Rucker - Thoughts of you

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 55:34
Size: 127,5 MB
Art: Front

(5:46)  1. Velas
(4:45)  2. Very early
(5:21)  3. In your own sweet way
(5:42)  4. Spring is here
(6:14)  5. Times lie - High wire
(5:29)  6. Something funny
(3:28)  7. Kisses
(4:29)  8. Summer night
(3:55)  9. Thoughts of you
(5:07) 10. Creepin'
(5:12) 11. Gnuble ooze

She's billed as "Ellyn Rucker, vocals and piano," but why not reverse the order? Her solos and comping reveal excellent piano chops and swing. Nice moments throughout, but you'll have to work hard to understand her words-Gene Lees' poetry on "Velas" and Alan and Marilyn Bergman's lyric on "Kisses," for example-obscured in a haze of breathy vocalese and busy arrangements. The Denver-based group includes keyboardist Eric Gunnison, who contributes synth colors and a funky B-3 solo; Laura Newman, singing soprano sax; and John Gunther, fine tenor sax and flute; Mark Simon, acoustic and electric bass; Jill Fredericksen, drums; Randy Chavez, guitar; and Mike Marlier, percussion, lay down a groove on Corea's "Times Lie/High Wire (The Aerialist)" and Tom Garvin's "Something Funny." Other tunes are Stevie Wonder's jazz-funk, "Creepin'," Rucker's lyric to Brubeck's "In Your Own Sweet Way," Bill Evans" "Very Early" and her original, the title track. Singer Mark Murphy's liner notes make clear he's really! enthusiastic! about Ellyn Rucker.~Dave Burns http://jazztimes.com/articles/10122-thoughts-of-you-ellyn-rucker

Personnel: Ellyn Rucker (vocals, piano); Randy Chavez (guitar); John Gunther (flute, tenor saxophone); Laura Newman (soprano saxophone); Eric Gunnison (keyboards); Mark Simon (acoustic bass, electric bass); Jill Fredericksen (drums); Mike Marlier (percussion).

Thoughts of you

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Polly Gibbons - What's the Real Reason?

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:53
Size: 93,9 MB
Art: Front

(4:11) 1. Toy Shop
(4:34) 2. Are You Okay?
(4:20) 3. Pray
(3:39) 4. Your Faith
(3:52) 5. Colourfield
(4:03) 6. Give & Take
(3:40) 7. So Unreasonable
(4:40) 8. Thought It Was About You
(3:50) 9. The Game
(3:59) 10. I'll Be Here

Polly Gibbons is a growing presence in the UK Jazz scene. She has already been nominated twice as “Best Jazz Vocalist” by JAZZ FM and the BBC. Fully embracing the inspiring expansiveness of American Jazz, Blues, Soul and R&B, her career as a vocalist, composer and live performer is influenced by these genres. But Polly is hesitant to define her music as strictly Jazz; her eclectic repertoire and the ease and style with which she performs it, have led her to appear at a variety of music festivals and venues: from the prestigious Royal Albert Hall in London opening for George Benson and Gladys Knight, or for Bozz Scaggs at the famous Montreal Jazz Festival. Equally, her fans might find her performing a weekly residency with her band at the legendary Birdland Jazz Club in NYC, Ronnie Scott’s in London or at the funky new venue Rudy's down in Nashville. Her music and her voice have a broad appeal to music lovers - and her ongoing touring over the last few years in the USA has garnered her many new fans.

One might ask how a farmer's daughter (one of seven siblings), who grew up in a small market town in Suffolk, England, came to sing in some of the greatest venues in the world? Polly grew up in a family that loved various types of music and although acting was her first love, she first began to experiment with vocals at 13; and the well-known British vocalist, Ian Shaw, helped her secure her first gig in London at 17. Then she was off! She released her first album, My Own Company in 2014, and soon afterward she was contacted by the American producer, George Klabin, President of the established USA label, Resonance Records, a division of the non-profit RISING JAZZ STARS, INC.

It was at Resonance Records Beverly Hills studio where Polly recorded Many Faces of Love, released in 2015. Touring the country from Oklahoma City to Minneapolis to New York City in support of that CD began a new career phase for Polly. She soon returned to the States in the Autumn of 2016 to begin work on her second album for Resonance: Is It Me…? The album was released in April of 2017 and several new touring periods (in the USA, EUROPE and ASIA) began, attracting critical acclaim from many music critics and periodicals; for example, the American music magazine, DOWNBEAT, compared Polly to a female version of the highly acclaimed vocalist, Gregory Porter.

In the Summer of 2018 the dynamic young vocalist spent three months in NYC exploring both the eclectic music scene in the city and some of its best musicians, as well as taking on the challenge of her first live recording - her third for Resonance. It took place over two days in June at the famed Powerstation/Berklee NYC, and was staged in front of a live audience. It was an exciting event, made even more special by the presence of several All-Star Band members who have worked with Polly on both the East Coast and West Coast, as well as in London: the keyboards were represented by the remarkable musicians Tamir Hendelman and James Pearson on the acoustic piano, and Shedrick Mitchell held court on the Hammond B3. The rhythm section featured Polly’s long time guitarist, Paul Bollenback, along with the versatile drummer Mark McClean and Richie Goods who performed on both electric and acoustic basses. The repertoire chosen for the new 12-track CD represents the vocalist as both a singer and a songwriter, and features her original title track, “All I Can Do”, as well as another track co-written with the pianist and Polly’s long-time collaborator, James Pearson, entitled “If You Had The Chance”. The remainder of the album features tunes as diverse as Prince’s “Nothing Compares to You”; a very unusual and delightful version of the great Cole Porter standard, ”Anything Goes”; and the Duke Ellington classic, “I’m Just a Lucky So and So”.

All I Can Do will be released in February of 2019, and will be supported initially by a tour of the West Coast, followed in the early Spring by performances in both the Midwest, the East Coast and the UK. As Polly reflects on her career so far, she says, “it's a fascinating journey that's constantly in flux, there are always exciting new goals to work towards.” The vocalist and songwriter is definitely on that road, and with All I Can Do out soon, she is on the way to new and extraordinary musical destinations. Stay tuned!! https://www.allaboutjazz.com/musicians/polly-gibbons

What's the Real Reason?

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Kenny G - New Standards

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 56:30
Size: 129,8 MB
Art: Front

(3:40) 1. Emeline
(5:50) 2. Only You
(5:30) 3. Paris By Night
(6:19) 4. Rendezvous
(3:56) 5. Legacy (feat. The Sound)
(4:32) 6. Anthem
(4:48) 7. Blue Skies
(4:42) 8. Milestones
(5:49) 9. Two Of A Kind
(6:00) 10. Moonlight
(5:18) 11. Waltz In Blue

With 2021's elegant New Standards, saxophonist Kenny G wryly inserts himself into the pantheon of American Popular Songbook composers performing and writing songs that feel as if they were written during the heyday of traditional pop in the '50s and '60s. The album is G's first studio production since 2015's Brazilian Nights and while it certainly hews to his distinctive crossover style it's steeped in a lush orchestral atmosphere that evokes the classic traditional pop of artists like Frank Sinatra, Johnny Mathis, and Ella Fitzgerald. Of course, these aren't swinging big-band numbers, but hushed and intimate ballads with just enough R&B keyboard, bass, and guitar textures to keep things contemporary.

What's particularly notable about New Standards is just how effectively G has managed to capture the sound of traditional pop. While solely instrumentals, tracks like "Emeline," "Blue Skies," and "Paris by Night" are nonetheless harmonically sophisticated songs that have the cozy, martini-soaked vibe of Tin Pan Alley and Brill Building standards. One could easily imagine a companion album with lyrics and guest vocalists added to the mix. That they are all G's own newly penned original compositions makes them all the more impressive. Even the one guest appearance here, a somewhat dubious, digitally crafted duet between G and his late idol, saxophonist Stan Getz (or more specifically "the sound" of Stan Getz), does little to distract from the overriding aura of relaxed,old-school romanticism. ~ Matt Collar https://www.allmusic.com/album/new-standards-mw0003604846

New Standards

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Eight To The Bar - Hey, Sailor!

Styles: Swing, Big Band
Year: 2001
File: MP3@320K/s
Time: 45:39
Size: 106,1 MB
Art: Front

(2:05)  1. She's The Most
(3:34)  2. Hey, Sailor!
(2:51)  3. The Existential Boogie
(4:37)  4. I'm Here To Tell You
(2:30)  5. Why Can't You Dance (With Me Like That)?
(3:52)  6. Mean Old Frisco
(2:54)  7. So Rare
(3:17)  8. Well All Right
(4:14)  9. All Of These Things
(4:23) 10. He Ain't Got Rhythm
(3:20) 11. Mean Streets
(3:27) 12. I'm Obsessed
(4:31) 13. Beat Me Daddy, Eight To The Bar

New England's premiere 6-piece swing and jump blues band of 27 years. Their longevity, huge fan base and jam-packed performance schedule are a testament to their ability to keep it swinging at no less than eight beats to the bar. Listening to Eight to the Bar is a lot like driving along a time-warped highway precisely halfway between Count Basie's Kansas City and Fat's Waller's Harlem, where the car radio picks up everything from "Take the A Train" to "Boogie Woogie Boy of Company B". Their material, like their outlandish wardrobes and onstage choreo, is a colorful mix of forties jive and swing, fifties jump blues, and their own swing influenced tunes. With their 4 part female and male vocals, saxophone, guitar, bass, keyboards and drums, this unique sextet pack a musical and visual wallop not seen in New England since the group's inception in 1975. Since that time they have released 7 records, have appeared national on HBO and VH-1 and have excited audiences from London to L.A. At this time the band has just released its seventh album, "Hey, Sailor!" and is going on its second European tour in April, 2002. http://www.cdbaby.com/cd/ettb

Personnel: Cynthia Lyon (vocals, piano, organ); Michael Corsini (vocals, upright bass); Tommy Whalen (guitar); Collin Tilton (flute, tenor saxophone); David Keith (drums, percussion).

Hey, Sailor!

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Lee Ritenour - The Captain's Journey

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 38:37
Size: 89,3 MB
Art: Front

(8:02)  1. The Captain's Journey
(5:53)  2. Morning Glory
(5:05)  3. Sugarloaf Express
(4:53)  4. Matchmakers
(5:27)  5. What Do You Want
(5:24)  6. That's Enough For Me
(3:49)  7. Etude

Guitarist Lee Ritenour had just switched from Epic to Elektra when he cut Captain's Journey in 1978. It was a followup to the successful crossover work Captain Fingers and used a similar strategy: tight, hook-laden arrangements, polished production, and minimal solo space. What individual things it has are dominated by Ritenour, a supremely talented guitarist who doesn't display that much of it with these arrangements. ~ Ron Wynn https://www.allmusic.com/album/the-captains-journey-mw0000120708

Personnel: Lee Ritenour – guitar, guitar synthesizer, rhythm arrangement; Dave Grusin – synthesizer , Minimoog, Rhodes piano , electric grand piano, piano; Ernie Watts – tenor and soprano saxophone; Ray Beckstein – flute, Eddie Daniels – flute Dave Valentin – flute David Foster – Rhodes piano, piano; Don Grusin – piano; Patrice Rushen – Rhodes piano , electric grand piano; Ian Underwood – synthesizer; Jay Graydon – guitar; Mitch Holder – guitar; Anthony Jackson – bass guitar Abraham Laboriel – bass guitar; Steve Gadd – drums; Alex Acuña – drums, percussion; Paulinho da Costa – percussion; Sue Evans – percussion; Steve Forman – percussion; Larry Rosen – percussion; Steve Thornton – percussion Patti Austin – vocals; Bill Champlin – vocals, vocal arrangement; Venette Gloud – backing vocal; Carmen Twillie – backing vocals; David Nadien – strings; Ed Walsh – programming

The Captain's Journey

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Cheryl Bentyne - Rearrangements of Shadows

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 44:27
Size: 102,6 MB
Art: Front

(4:46)  1. I Remember
(4:47)  2. Sand
(5:13)  3. The Ladies Who Lunch
(2:55)  4. Everybody Says Don't
(3:15)  5. Comedy Tonight
(3:00)  6. Wish I Could Forget You
(5:40)  7. Not a Day Goes By
(4:56)  8. Move On
(4:37)  9. Send in the Clowns
(5:13) 10. The Ladies Who Lunch (solo CB) [Bonus Track]

Though such early career collaborations as West Side Story and Gypsy yielded significant fodder for jazz artists, the show tunes that Stephen Sondheim later shaped by himself remain seldom covered (save the ubiquitous “Send in the Clowns”). Many of his intricately crafted songs just don’t lend themselves easily to reinterpretation. Yet, with support from several gifted arrangers, the Manhattan Transfer’s Cheryl Bentyne proves effective at the art of reimagining Sondheim’s densely shadowed work. “Clowns” is here, saved ’til last; it’s a dreamy, Transfer-worthy treatment propelled by cajón and shaker and shaped by Take 6’s Mark Kibble, who unites with Naturally 7’s Armand Hutton on backing vocals. Among other familiar selections: a bubbly “The Ladies Who Lunch,” featuring special guests Tierney Sutton and the Transfer’s Janis Siegel, with a curiously effective nod to “Killer Joe” from arranger Jamieson Trotter; a lithe, tender “Not a Day Goes By”; a spirited, asymmetric “Everybody Says Don’t,” on which arranger and bassist Kevin Axt is paired with drummer Dave Tull; and a kaleidoscopic, edge-of-sanity “Comedy Tonight” that, courtesy of arranger Bevan Manson, blends Baroque courtliness with Big Top buffoonery. 

Digging deeper into the Sondheim songbook, Bentyne adds the obscure “Sand,” featuring a cleverly shifting arrangement by Eli Brueggemann; a strings-drenched “Move On” (from Sunday in the Park With George); and, alone with pianist Tom Zink, Passions’ haunting “I Wish I Could Forget You.” ~Christopher Loudon https://jazztimes.com/reviews/vox/cheryl-bentyne-rearrangements-sondheim/

Rearrangements of Shadows

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The Manhattan Transfer - The Very Best Of The Manhattan Transfer

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 61:40
Size: 145,6 MB
Art: Front

(3:42) 1. Boy From New York City
(2:22) 2. Trickle Trickle
(3:01) 3. Gloria
(3:13) 4. Operator
(3:06) 5. Tuxedo Junction
(3:50) 6. Four Brothers
(5:10) 7. Ray's Rockhouse
(5:15) 8. Soul Food To Go (Sina)
(3:43) 9. Spice Of Life
(2:56) 10. Baby Come Back To Me (The Morse Code Of Love)
(3:29) 11. Candy
(3:51) 12. A Nightingale Sang In Berkeley Square
(6:02) 13. Birdland
(2:48) 14. Java Jive
(2:58) 15. Route 66
(6:06) 16. Twilight Zone/Twilight Tone

This eclectic collection of songs encompasses jazz, bebop, swing, doo wop, rock & roll, and gospel; all are trimmed in an attractive pop texture. These 16 compositions are taken from the vocal quartet's albums, which span 12 years (1975-1987). Each selection is inviting, as all four song stylists display their individual vocal skills and admirable harmonies. Laurel Masse appears on recordings up until 1979, when Cheryl Bentyne replaced her. Other members include Tim Hauser, Janis Siegel, and Alan Paul. ~Craig Lytlehttps://www.allmusic.com/album/the-very-best-of-the-manhattan-transfer-mw0000107854

The Very Best Of The Manhattan Transfer

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Joe Lovano Quartet feat. Hank Jones - JazzBaltica 2005

Styles: Saxophone And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 93:47
Size: 216,7 MB
Art: Front

(10:50) 1. Bird's Eye View
(12:37) 2. Don't Ever Leave Me
(10:10) 3. I Waited For You
( 9:59) 4. Consummation
(14:10) 5. Kids Are Pretty People
(11:15) 6. Stella by Starlight
( 8:25) 7. I'm All for You
( 9:04) 8. Six and Four
( 7:14) 9. Crescent

Joseph Salvatore Lovano was born in Cleveland, Ohio on December 29, 1952 and grew up in a very musical household. His dad, Tony, aka Big T, was a barber by day and a big-toned tenor player at night. “Big T,” along with his brothers Nick and Joe, other tenor players, and Carl, a bebop trumpeter, made sure Joe’s exposure to Jazz and the saxophone were early and constant. Joe’s mom, Josephine, and her sister Rose were serious listeners, as well, His Mom remembers hearing Big T play opposite Stan Getz and Flip Phillips when they were engaged. And Aunt Rose went to hear Jazz at the Philharmonic with Ella Fitzgerald when they came through Cleveland.

Not surprisingly, Joe began playing the alto at five, switching to the tenor a few years later. By the time he got his driver’s license at sixteen, Joe Lovano was a member of the Musician’s Union, Local 4, and working professionally. He started playing club dates (sometimes subbing for his dad), and Motown cover bands, eventually saving enough money from these gigs to put himself through college. “My dad was a fantastic saxophone player with a really deep passion for the music. I grew up with his record collection and when I was a teenager, he’d bring me around to rehearsals and jam sessions” http://www.joelovano.com/biography/

Personnel: Joe Lovano – tenor saxophone; Hank Jones – piano; George Mraz – bass; Lewis Nash – drums

JazzBaltica 2005

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Cécile McLorin Salvant - Ghost Song

Styles: Vocal
File: MP3@320K/s
Time: 46:07
Size: 106,6 MB
Art: Front

(2:44) 1. Wuthering Heights
(7:23) 2. Optimistic Voices / No Love Dying
(3:22) 3. Ghost Song
(1:32) 4. Obligation
(6:31) 5. Until
(3:40) 6. I Lost My Mind
(3:04) 7. Moon Song
(2:23) 8. Trail Mix
(4:48) 9. The World Is Mean
(2:36) 10. Dead Poplar
(3:36) 11. Thunderclouds
(4:21) 12. Unquiet Grave

In the 12 years since Cécile McLorin Salvant arrived on the jazz scene by winning the 2010 Thelonious Monk International Jazz Competition, she has diligently redefined the popular concept of a jazz singer. In addition to being a vehicle toward a romantic vision of emotional bliss as told in the words of the classic American songbook, Salvant has added numerous other identity tropes. She’s the cultural-studies professor examining, even interrogating the lyrics of classics. She’s the crate digger, finding nuggets from forgotten musicals and films, and obscure songs by great songwriters and singers. And she’s a storyteller, bringing an actress’ arsenal of nuanced theatricality, wit, and intelligence to her stage persona. Her accomplishments extend beyond her five albums as a leader or co-leader, several noteworthy collaborations, and three Grammy Awards. In 2020, she won a MacArthur “genius grant.”

On Ghost Song, her debut recording for Nonesuch Records, she expands her ambitions. The recording opens with a stunning cover of the Kate Bush classic “Wuthering Heights.” Salvant begins singing a cappella, bringing full operatic splendor to the verses about longing and yearning, so that when the band kicks in and she sings straightforwardly, “Heathcliff, it’s me, I’m Cathy/I’ve come home, I’m so cold,” the vulnerability and ache strike like a power chord. The other 11 tracks contain similar juxtapositions of elegance and force. The title track, for instance, starts with Salvant referencing the might of field hollers and finishes with the gentle croons of the Brooklyn Youth Choir. “Trail Mix” is a solo piece that features Salvant on piano, and on “Dead Poplar,” she sings a letter written from the great photographer Alfred Stieglitz to his wife, the legendary artist Georgia O’Keeffe. The album closes with “Unquiet Grave,” on which she sings a cappella again, bringing a symmetrical finish to a powerful recording about pain and loss.~ Martin Johnson https://jazztimes.com/author/martin-johnson/

Ghost Song

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