Ellis Larkins - Blues In The Night

Styles: Piano
Year: 1952
File: MP3@320K/s
Time: 23:41
Size: 55,2 MB
Art: Front

(3:12) 1. Blues in the Night
(2:51) 2. I'll Wind
(2:56) 3. Over the Rainbow
(2:59) 4. Come Rain or Come Shine
(3:04) 5. Stormy Weather
(2:58) 6. One for My Baby
(2:42) 7. Between the Devil and the Deep Blue Sea
(2:56) 8. I Gotta Right to Sing the Blues

Stomping blues, charming ballads, and dazzling interpretations of standards by pianist Ellis Larkins, one of the most underrated players from the swing era still active.~Ron Wynn https://www.allmusic.com/album/blues-in-the-night-mw0000909970

Personnel: Ellis Larkins - Piano

Blues In The Night

---

Barbara Knight & The Cleveland Jazz Orchestra - Night & Day

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 43:37
Size: 102,1 MB
Art: Front

(3:10)  1. The Song Is You
(4:11)  2. Bewitched
(2:50)  3. Bye Bye Blackbird
(5:06)  4. Night And Day
(2:45)  5. Just In Time
(4:33)  6. When You Wish Upon A Star
(4:04)  7. They All Laughed
(2:38)  8. Perdido
(5:17)  9. Like A Lover
(3:26) 10. Teach Me Tonight
(2:20) 11. Just One Of Those Things
(3:12) 12. This Lullaby

Barbara Knight is Northeast Ohio's premier big band jazz singer. She is known for captivating an audience with her tantalizing voice and is recognized by jazz bands and musicians as a truly gifted singer with dynamic stage presence and an intimate knowledge of her repertoire. Her enchanting renditions of the jazz classics will delight you while her melodic vocals will lure you into the song and make listening a truly magical experience. Experience the magic as you discover vocalist Barbara Knight in this exciting debut CD, "Night and Day".

“Barbara Knight's jazz style beautifully combines power and poise. She's a singer's singer, swinging on "Perdido," seductive on "Like a Lover," mysterious on her namecheck tune, "Night and Day," welcoming on "Just in Time." Both queenly and friendly, Knight is particularly comfortable with standards. But she's not afraid to be modern, either. "Night and Day," her CD with the Cleveland Jazz Orchestra, effectively demonstrates how well Knight and her favorite backup work together. This lush album is a honey, proving how persuasive mainstream jazz can be. Credit Barbara Knight for making the reminder so resonant.” ~ Carlo Wolff, jazz reviewer for the Cleveland Plain Dealer and contributor to Billboard online, Goldmine and the Boston Globe.

“There’s a rightness about this CD that is hard to define, one that I haven’t heard on anything I’ve ever been on except this. It’s just on another level. Wow!” ~ Jack Schantz, musical director of Cleveland Jazz Orchestra

“Barbara Knight's "Night And Day" is a refreshing change of pace. Knight shows us her love of the songs she sings, by actually just singing them. No self indulgent, vocal exercises on this session. Just Barbara's warm, crystal clear voice bringing life to a collection of very hip charts. What a delight!” ~ Dan Polletta, jazz host, WCPN - FM 90.3

“Barbara Knight sings with confidence and affection. Her interpretations of the great standards are straight from the heart of the music." ~ Tony Mowod, executive producer / jazz host, WDUQ - FM 90.5 http://www.cdbaby.com/cd/bkwtcjo

Night And Day

---

Adela Dalto - Exotica

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 55:32
Size: 128,0 MB
Art: Front

(1:09) 1. Dawning
(6:07) 2. Moon And Sand
(4:51) 3. And When The Clouds Fade Away
(4:51) 4. Dreams Of Paradise
(4:17) 5. Summer Passion
(5:04) 6. Brazilian Summer
(4:06) 7. Chora Coracao
(4:32) 8. Bachianas Brasileiras No. 5
(1:50) 9. Sol Do Meio Dia
(4:19) 10. Pobre De Mim
(3:22) 11. Coração Vagabundo
(4:06) 12. Waiting For Him
(6:53) 13. Afro Sambas

Adela Dalto has been immersed in the highest levels of creative Latin and Brazilian music and has mixed the sophisticated elements of this music with American jazz. Her Latin jazz repertoire also includes her original compositions, combining beautiful vocal sounds with fiery rhythms. She has performed around the world with her musical group including the U.S., Latin America, the Caribbean, Europe, Japan, China, Indonesia and Egypt. One of her first performances was as a backup singer for Celia Cruz, and she has since performed with some of the top Latin jazz artists including Arturo O'Farrell, Mario Bauza's AFRO CUBAN JAZZ ORCHESTRA and Carlos "Patao" Valdez. Her recordings include world class musicians such as Chucho Valdez, David Sanchez, Jerry Gonzalez, David Valentin, Ray Vega and Claudio Roditi. She has collaborated on albums with Mario Bauzá, Lee Konitz, and Aloisio Aguiar.

As a Latin Jazz vocalist, recording artist and songwriter, with a successful career that spans over 30 years, her performance has been described as "A sublime melding of Latin and jazz styles Dalto is sensuous and spellbinding." (Mark Holston, JAZZIZ). https://elusivedisc.com/adela-dalto-exotica-single-layer-stereo-japanese-import-sacd/

Musicians: Adela Dalto, vocals; Aloisio Aguiar, piano, marimba, celeste, percussion; Romero Lubambo, guitar; David Finck, bass; Portinho, drums; Waltinho, percussion, voice; Mauricio Smith, flute; Jimmy Cruz, percussion, wooden flute; Cidinho Teixeira, accordian

Exotica

---

Larry Coryell - I'll Be Over You

Styles: Jazz Fusion
Year: 1994
File: MP3@320K/s
Time: 52:04
Size: 120,7 MB
Art: Front

(4:57) 1. I'll Be Over You
(4:22) 2. Redwing
(4:43) 3. Tonight Is the Night
(3:06) 4. Try a Little Tenderness
(5:17) 5. St. Louis Blues
(5:14) 6. For the Love of You
(4:50) 7. Nightshade
(4:34) 8. This Love of Ours
(4:49) 9. Before Dawn
(4:28) 10. Cumulus
(5:39) 11. Better Get Hit in Yo' Soul

As one of the pioneers of jazz-rock perhaps the pioneer in the ears of some Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he remained comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s went missing in the digital age, tied up by the erratic reissue schemes of Vanguard, RCA, and other labels, and by jazz-rock's myopically low level of status in certain quarters.

According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel, and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965 he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-1968 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel, and Steve Marcus formed a group called Foreplay in 1969 (no relation to the later Fourplay), and by 1973 this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.

In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan, and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco de Lucía, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton, and John Abercrombie for the Jazzvisions series. Coryell also recorded with Stéphane Grappelli, Charles Mingus, Sonny Rollins, and Kenny Barron, and taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov.

Coryell's career in the early 21st century was just as active. The year 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006 he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle, followed two years later by Impressions: The New York Sessions on Chesky. In 2011 the guitarist joined a group of musicians closely associated with the Bay Area's Wide Hive label for Larry Coryell with the Wide Hive Players. He then returned in 2013 with The Lift, featuring organist Chester Thompson. Two years later, he delivered his third album for Wide Hive, Heavy Feel. In January 2017, Coryell announced he had reunited members of his '70s fusion group Eleventh House, including trumpeter Randy Brecker, for the album Seven Secrets. The album was slated to arrive in early June of that year, with a number of U.S. summer tour dates confirmed in support of the release. However, following a pair of weekend shows at New York City's Iridium club, Coryell died of heart failure in his hotel room on February 19, 2017. He was 73 years old. https://www.allmusic.com/artist/larry-coryell-mn0000124784/biography

Personnel: Larry Coryell - acoustic, electric, 12-string electric & Flamenco guitars; Sharon Bryant - background vocals; David Charles - percussion; Chris Parks - keyboards, programming; Carmen Cuesta - background vocals; Zach Danziger - drums; Mark Herman - keyboards, programming; Mark Sherman - vibraphone, keyboards, percussion, programming; Dan Heymann - piano; Rick Bottari - keyboards; Tracy Wormwood - bass; Steve Ferrone - drums; Chuck Loeb - guitar, electric guitar; Will Lee - bass; Grover Washington, Jr.- soprano saxophone, tenor saxophone; Peabo Bryson - vocals; Donald Harrison - vocals, soprano & tenor saxophones; Lani Groves - background vocals; Vaneese Thomas - background vocals

I'll Be Over You

---

Wayne Shorter - Introducing

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 66:00
Size: 151,6 MB
Art: Front

( 5:35)  1. Blues A La Carte
( 4:40)  2. Harry's Last Stand
( 9:41)  3. Down In The Depths
( 6:49)  4. Pug Nose
( 6:00)  5. Black Diamond
( 4:27)  6. Mack The Knife
( 5:43)  7. Blues A La Carte (alternate take)
( 4:59)  8. Harry's Last Stand (alternate take)
(10:18)  9. Down In The Depths (alternate take)
( 7:43) 10. Black Diamond (alternate take)

Also known as Blues A La Carte, this Vee Jay disc has tenor-saxophonist Wayne Shorter's first session as a leader and it shows that, even at this early stage, Shorter was far along toward developing his own sound. Teamed up with trumpeter Lee Morgan, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb, the six selections (five of which are Shorter originals) capture the young tenor shortly after he joined Art Blakey's Jazz Messengers. The music is essentially hard bop and, although none of these Shorter tunes caught on, the music is quite enjoyable. A special treat is the one standard of the date, a swinging version of "Mack The Knife." ~ Scott Yanow http://www.allmusic.com/album/introducing-wayne-shorter-mw0000036851 

Personnel: Wayne Shorter: Tenor Saxophone; Lee Morgan: Trumpet; Wynton Kelly: Piano; Paul Chambers: Bass; Jimmy Cobb: Drums.

Introducing

---

Dutch Swing College Band - Goes Western

Styles: Swing, Big Band
Year: 1965
File: MP3@320K/s
Time: 33:13
Size: 77,7 MB
Art: Front

(2:39) 1. Roll Along Covered Wagon
(2:24) 2. I'm An Old Cowhand
(3:07) 3. South Of The Border
(2:50) 4. Home On The Range
(2:34) 5. Take These Chains From My Heart
(2:20) 6. You Are My Sunshine
(2:54) 7. Roll Along Prairie-Moon
(2:43) 8. Tennessee Waltz
(3:38) 9. Don't Fence Me In
(2:44) 10. San Antonio Rose
(2:42) 11. Singing The Blues
(2:34) 12. Red River Valley

The Dutch Swing College Band started out as an amateur-college combo on liberation day (1945, may 5th) and through the years it has grown into a worldfamous jazz ensemble that has toured all five continents to much acclaim. The DSC played a prominent role during the post-war period. At the time many youngsters fell under the spell of the original Amerian music: jazz. The band, which has existed for more than sixty years, has given concerts all over the world and the sounds have been registered on practically all types of sound recordings since 1945. The band also appeared frequently on TV and in film productions. Through the years many big names in jazz music were backed by the DSC, from Sidney Bechet, Joe Venuti and Rita Reys to Teddy Wilson. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL. https://www.jazzmusicarchives.com/artist/dutch-swing-college-band

Goes Western

---

Judy Carmichael - Judy

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 56:53
Size: 131,0 MB
Art: Front

(3:33) 1. Judy
(4:52) 2. It Don't Mean a Thing
(3:23) 3. Doin' the New Lowdown
(3:33) 4. The Blue Room
(5:27) 5. Gee Baby, Ain't I Good to You?
(4:50) 6. If Dreams Come True
(5:27) 7. Lazy River
(3:30) 8. Alligator Crawl
(3:35) 9. Doctor Jazz
(5:05) 10. Ja Da
(2:56) 11. Henderson Stomp
(6:00) 12. When I Take My Sugar to Tea
(4:41) 13. Sweet Sue

Grammy nominated pianist/vocalist, Judy Carmichael is one of the world’s leading interpreters of stride piano and swing. Count Basie nicknamed her “Stride," acknowledging the command with which she plays this technically and physically demanding jazz piano style. Judy’s vocal debut on her CD “Come and Get It” features her singing debut on everything from Peggy Lee inspired standards, to humorous takes on Fats Waller tunes. Her first all-vocal CD “I Love Being Here With You” followed, which is also her first with someone else playing piano, in this case the great Mike Renzi (presently music director for Tony Bennett) with Harry Allen on sax and Jay Leonhart on bass.

A native of California, Judy Carmichael moved to New York in the early 80’s and has maintained a busy concert schedule throughout the world ever since. She has toured for the United States Information Agency throughout India, Portugal, Brazil and Singapore. In 1992 Ms. Carmichael was the first jazz musician sponsored by the United States Government to tour China. The musician that critics have referred to as “astounding, flawless and captivating” (The New York Times) has played in a variety of venues from Carnegie Hall, to the Peggy Guggenheim Museum in Venice (the first concert ever presented by the museum) to programs with Joel Grey, Michael Feinstein, Steve Ross and the Smothers Brothers. In addition, Ms. Carmichael has done comic skits and performed her music on radio and TV and performed private recitals for everyone from Rod Stewart and Robert Redford to President Clinton and Gianni Agnelli.

Judy Carmichael is one of a handful of musicians who approach jazz from a perspective of its entire history. Choosing to study jazz piano from its early roots on, she explores the music deeply, infusing it with a “fresh, dynamic interpretation of her own” (Washington Post ). The National Endowment for the Arts rewarded Carmichael’s knowledge of jazz piano with a major grant to present early jazz greats on film and to discuss the history and development of jazz piano with college students across the country. Judy Carmichael’s Grammy-nominated recording “Two Handed Stride” teamed her with four giants of jazz from the Count Basie Orchestra, Red Callendar, Harold Jones, Freddie Green and Marshall Royal.

She has written two books on stride piano, a celebrated memoir Swinger! A Jazz Girl’s Adventures From Hollywood to Harlem and numerous articles on the subject of jazz. She has served on a variety of music panels at the National Endowment for the Arts and is one of the few jazz pianists honored as a Steinway Artist. She has been included in a number of jazz anthologies and at one point, to her utter surprise, turned up in the Simon and Schuster murder mystery Murder Times Two as “the stride pianist Judy Carmichael,” the main suspect’s favorite piano player. Ms. Carmichael is included in Who’s Who in the East, Who’s Who in Finance and Industry in America, Who’s Who in American Woman, American Women in Jazz, Who’s Who in the World, as well as the Encyclopedia of Jazz. Ms. Carmichael has appeared frequently on Garrison Keillor’s A Prairie Home Companion, and has been featured on National Public Radio’s Morning Edition, Entertainment Tonight and multiple features on CBS’ Sunday Morning.

She is celebrating her 20th year producing and hosting her NPR Show Judy Carmichael’s Jazz Inspired, broadcast on over 170 stations throughout North America and abroad. Listen to the Jazz Inspired, podcast on all the usual platforms. Her recordings and music books are available at www.judycarmichael.com, on Apple Music or by mail order through C&D Productions, P.O. Box 360 Sag Harbor, New York, 11963.

Personnel: Judy Carmichael-piano; Chris Flory-guitar

Judy

---

Bria Skonberg - So Is the Day

Styles: Vocal And Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 63:26
Size: 148,1 MB
Art: Front

(4:10)  1. Keep Me In The Back Of Your Mind
(7:35)  2. So Is The Day
(7:30)  3. Hip Check
(4:03)  4. I Wish I Hadn't Forgotten
(4:48)  5. Have A Little Heart
(3:45)  6. Far Away
(5:12)  7. Penny In Your Pocket
(4:29)  8. Let Yourself Go
(5:49)  9. Chilliwack Cheer
(4:08) 10. Big Yellow Taxi
(7:48) 11. Gymnopedie
(4:03) 12. My Friend

It's a rare talent that can straddle and dare request membership in the trumpet artist continuum emanating from Louis Armstrong and progressing down through his "Neo Orleans" progeny: Byron Stripling, Wynton Marsalis and Nicholas Payton (whose big band trumpet section Skonberg graces). However, with her bravura performance on So is the Day, Bria Skonberg confirms that she is not only indeed a triple threat musician player, vocalist and composer but also that that esteemed lineage, consummate entertainers all, would heartily approve her membership. This stunningly beautiful British Columbia native plays (and writes and sings) at levels of excellence and maturity far beyond her years. Whether it's plunging and growling away, soaring across the horn's range ferociously, or delivering beautifully constructed lyrical solo lines, Skonberg demonstrates solid chops and great command of her instrument. Displaying artistic flexibility and fire, she unabashedly channels Armstrong, Cootie Williams, Warren Vache, and other legendary players. It's also obvious that Skonberg is an admiring student of the vocal tradition, too. She exhibits stylistic shades of Peggy Lee, Dinah Washington, and Diana Krall. She has a beautiful voice both soul sultry and innocent sweet and an instrumentalist's feel for melodic line and rhythm. Her vocal and horn chops intertwine seamlessly. "Have a Little Heart" is a perfect example. An insightfully versatile composer, Skonberg delivers nine engaging originals, all stylistically unique. 

She's done her homework; the forms and lyric phrasings are classic. "I Wish I Hadn't Forgotten" frames Skonberg with guest John Pizzarelli, a perfect vocal partner, on an elegant guy/gal swinger. "Penny in Your Pocket" grinds blue with Scott Elias' organ. "Hip Check" (a sidewinder turned inside out to 5/4 time) and "Chilliwack Cheer" deal Cajun spice. "Far Away," the most contemporary of her originals, modulates dreamily. Three well-known selections are given refreshed presentations performed with verve. Joni Mitchell's "Big Yellow Taxi" shines with a bouncy Caribbean groove and a beauty of a Skonberg flugelhorn solo. "Let Yourself Go" and Erik Satie's over-recorded "Gymnopedie" are done in Latin-esque treatments. Skonberg's supporting crew is stellar throughout, and seems to relish placing Skonberg in the spotlight. Swinging woodwind artist Victor Goines, trombone stars Wycliffe Gordon and Michael Dease, and a rhythm section of (terrific) pianist Jeff Lashway, the versatile Randy Johnston on guitar, bassist Kelly Friesen, and drummer Ulysses Owens, Jr. collectively and individually energize. So is the Day, while tipping a hat to tradition, appropriately pushes Bria Skonberg to the forefront of today's musical talents. She has it all so does this superb recording. ~ Nicholas F.Mondello  

http://www.allaboutjazz.com/so-is-the-day-bria-skonberg-random-act-records-review-by-nicholas-f-mondello.php
 

Personnel: Bria Skonberg: trumpet, flugelhorn, vocals; Victor Goines: tenor saxophone, clarinet, flute; Wycliffe Gordon: trombone (1, 9); Michael Dease: trombone (11); Jeff Lashway: piano; Scott Elias: organ (7);Randy Johnston: guitar; Kelly Friesen: bass; Ulysses Owens, Jr.: drums; Roland Guerrero: percussion; John Pizzarelli: guitar, vocals (4).

So Is the Day

---

Ralph Bowen - Total Eclipse

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:30
Size: 141,1 MB
Art: Front

(5:37)  1. Total Eclipse
(5:36)  2. Behind The Curtain
(5:58)  3. Into The City
(6:31)  4. The Dowsing Rod
(7:02)  5. On Green
(7:18)  6. Arrows Of Light
(9:55)  7. Exosphere
(5:31)  8. Hip Check
(7:57)  9. In My Dreams

Ralph Bowen plays a pure strain of postmodern tenor saxophone. He is hugely proficient technically and consistently spills his guts. Take “Into the City.” Its quick, jagged, asymmetrical head is like a call to arms. Bowen builds from a few repeated adjacent tones to long convoluted lines that sound like onslaughts until you hear that they are actually sets of subtle variations (if in-your-face tenor can be subtle). It follows that he makes good records. His three most recent, Power Play , Due Reverence and Dedicated , all on Posi-Tone, were aesthetic undertakings as tenor saxophone clinics. Total Eclipse might be his best yet. It has Bowen’s hottest band ever.

The guys are relatively new. Jared Gold is an organist who maximizes the resources of his instrument. When he and Bowen combine for maximum unison power, as on “Exosphere,” this quartet hits like a big band. When Gold unleashes the full force of the B3 on a wild, roaring piece like “Hip Check,” he does not so much comp as slam and bash behind Bowen, catapulting him forward. Yet Gold also takes solos of glittering detail and piquant discord, as on “In My Dreams.” Mike Moreno is a free thinker on guitar. He complements the ensemble sound with off-center pinpoints of light, and takes intriguing, ambiguous solos. Rudy Royston, who plays free drums in the tenor trio of JD Allen, operates in a more defined, organized role with Bowen. But he still sounds dangerously volatile. There are eight strong tracks and one tour de force. Bowen’s dash through the head of “Hip Check” is impossibly fast and exact, then he improvises at the same rapid data rate. Royston rockets; Moreno ululates; Gold shrieks. Bowen rivets the theme into place at the end. Another day at the office. ~ Thomas Conrad http://jazztimes.com/articles/54410-total-eclipse-ralph-bowen

Personnel: Ralph Bowen: saxophone; Jared Gold: organ; Mike Moreno: guitar; Rudy Royston: drums.

Total Eclipse

---

John Abercrombie & Ralph Towner - Sargasso Sea

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 98,9 MB
Art: Front

(8:41) 1. Fable
(5:19) 2. Avenue
(4:00) 3. Sargasso Sea
(2:51) 4. Over and Gone
(5:11) 5. Elbow Room
(6:24) 6. Staircase
(3:17) 7. Romantic Descension
(5:24) 8. Parasol

John Abercrombie and Ralph Towner have forever been tied to the ECM roster as leaders and individualists, and initially it was hard to imagine their styles being compatible. As an amplified electric guitarist, Abercrombie's steely, sometime unearthly sound was an uneven puzzle piece alongside the graphic, stoic, classically oriented style of Towner. Yet on Sargasso Sea, there are several instances where they merge together as one, feeling their way through pure improvisations, angular and colorful motifs, or thematic nuances and a certain strata of consciousness that makes a world of common sense. There are selections where they both play acoustic guitars, but it is mostly Abercrombie's hopped up sound through an amp over Towner's bold and beautiful unplugged instrument, tossing in a piano overdubbed on two tracks.

Where selections such as "Fable" are folksy and far from overwrought, "Avenue" lopes gracefully and the exceptional "Parasol" is semi-lyrical. Abercrombie's guitar stands in stark contrast on the near macabre title track, and more so during "Elbow Room" with heavier moans, cries, vibrato, echoplex slide incursions, and Towner as an afterthought. The best track "Staircase," with twin acoustic guitars, sports tricky intricate lines and changes only virtuosi can achieve. In laid-back surrender for "Romantic Descension," and in passive voicings on "Over & Gone," Towner need not strain to make his brilliant voice heard clearly. An uneven recording for many listeners and critics, Sargasso Sea deserves a second chance, not as an absolutely flawed, imperfect, or unbalanced effort. Like a tale of two cities, it stands as a unique project, perhaps deserving a more refined approach. Though there was a follow-up album released, a third-time's-the-charm contemporary revisit from these masterful guitar geniuses would be welcome.~ Michael G. Nastoshttps://www.allmusic.com/album/sargasso-sea-mw0000198776

Personnel: John Abercrombie – electric guitar, acoustic guitar; Ralph Towner – twelve-string guitar, classical guitar, piano

Sargasso Sea

---

The Gene Harris Trio - Genie In My Soul

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 32:49
Size: 76,0 MB
Art: Front

(3:32) 1. There's A Genie In My Soul
(3:10) 2. Cool Mix
(3:37) 3. Walking Shoes
(2:21) 4. I Wanna Go Where You Are
(4:03) 5. That's Oona
(3:28) 6. Love For Sale
(2:38) 7. Mangos
(3:14) 8. You Stepped Out Of A Dream
(3:40) 9. The Thrill Is Gone
(3:02) 10. Tune Up

One of the most accessible of all jazz pianists, Gene Harris' soulful style (influenced by Oscar Peterson and containing the blues-iness of a Junior Mance) was immediately likable and predictably excellent. After playing in an Army band (1951-1954), he formed a trio with bassist Andy Simpkins and drummer Bill Dowdy which was, by 1956, known as the Three Sounds. The group was quite popular, and recorded regularly during 1956-1970 for Blue Note and Verve. Although the personnel changed and the music became more R&B-oriented in the early '70s, Harris retained the Three Sounds name for his later Blue Note sets.

He retired to Boise, ID, in 1977, and was largely forgotten when Ray Brown persuaded him to return to the spotlight in the early '80s. Harris worked for a time with the Ray Brown Trio and led his own quartets in the years to follow, recording regularly for Concord and heading the Phillip Morris Superband on a few tours; 1998's Tribute to Count Basie even earned a Grammy nomination. While awaiting a kidney transplant, he died on January 16, 2000, at the age of 66.~Scott Yanowhttps://www.allmusic.com/artist/gene-harris-mn0000802745/biography

Personnel: Gene Harris - piano; Ben Tucker - bass; Kenny Harris - drums

Genie In My Soul

---

Antonella Vitale - The Look Of Love

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 45:55
Size: 106,2 MB
Art: Front

(4:47)  1. How Long Has This Been ...
(6:16)  2. Notte
(6:12)  3. The Look Of Love
(7:05)  4. Skylark
(5:37)  5. Running in Rome
(4:18)  6. Un Sogno Apparira
(4:32)  7. They Long to Be(Close to You)
(3:35)  8. Presto Amore e Tardi
(3:30)  9. Walk On By

Diamo are welcome to this Italian vocalist who shows a debut CD with a repertoire made up of well-known standards and some original compositions thereof Antonella Vitale, of Andrea Beneventano , pianist and arranger of this CD, and Marina Acerra . There are three songs of Bacharach, including the title track, which also shows a clever presentation skills of the melody very important in the songs of this composer and Vitale has a very clear voice quality and versatile. Perhaps a small flaw can denote English pronunciation a bit '' forced '. But when it comes to improvise Vitale does not hold some back and casually using a valid scat as the ballad Night , in which he plays a nice doubling time, but also in other songs it detects a good command of harmony. 

Very nice original compositions with use of the Italian language that now begins to consolidate among Italian singers. Maybe they will not be very exportable texts but the musicality obtained is undoubtedly original and pleasant. The musicians called to accompany the vocalist ( Lorenzo Tucci , Francesco Puglisi and Andrea Beneventano ) are an excellent and solid foundation, improvise all effortlessly even if there are no particular peaks. ML – Jazzitalia Translate by google  http://www.jazzitalia.net/recensioni/thelookoflove.asp#.VZm9b_maXiQ

Personnel: Andrea Beneventano – Voice , Piano; Francesco Puglisi - Double bass; Lorenzo Tucci – Drums;  Special Guest Aldo Bassi - Trumpet & Flugel Horn

The Look Of Love

---

Emily Asher - Dreams May Take You

Size: 125,0 MB
Time: 53:48
File: MP3 @ 320K/s
Released: 2012
Styles: New Orleans Jazz, Vocals
Art: Front

01. Ory's Creole Trombone (5:50)
02. Lullaby For A Little One (2:19)
03. There'll Be Some Changes Made (Feat. Wycliffe Gordon) (5:26)
04. Sweet Pea (4:39)
05. Hey, Look Me Over (4:15)
06. Emperor Norton's Hunch (3:57)
07. On The Sunny Side Of The Street (5:49)
08. Great Big Wall (Feat. Wycliffe Gordon) (4:11)
09. You Are My Sunshine (Feat. Philip Dizack) (3:39)
10. Muskrat Ramble (4:25)
11. Someday You'll Be Sorry (3:57)
12. Limehouse Blues (5:14)

Something good. And about time! It’s trombonist/singer/composer/arranger/bandleader Emily Asher’s debut CD, sweetly titled DREAMS MAY TAKE YOU.

Along with Emily, you will hear Wycliffe Gordon, on sousaphone and trombone; Bria Skonberg, trumpet, vocal; Philip Dizack, trumpet; Dan Levinson, tenor sax, clarinet; William Anderson, alto sax; Nick Russo, guitar, banjo; Gordon Webster, piano; Kelly Friesen, bass; Rob Adkins, bass; Kevin Dorn, drums; Rob Garcia, drums. For those of you familiar with the hot New York scene, those names are a guarantee of fine swinging inventive jazz.

Much of the repertoire would appear to be “good old good ones,” including SUNNY SIDE OF THE STREET and SOMEDAY YOU’LL BE SORRY, but the CD is anything but by-the-numbers. Emily is more than a fine trombonist and a sweetly winning singer: she is an imaginative musician, so the CD doesn’t bog down in the same thing; every track is its own vignette.

It begins with a romping version of ORY’S CREOLE TROMBONE, which Emily delivers with a fine gutty fervor (and her own version of a trombone cadenza). The soloists share Emily’s high-flying enthusiasm, and the rhythm sections couldn’t be better. So the chestnuts have a delightful 2012 Condonite bounce and looseness. The CD’s title comes from an Asher original — by Emily’s father — called LULLABY FOR A LITTLE ONE, on which Miss Asher sings with winsome charm. (And she knows when to leave an audience wanting more: the LULLABY is a delicious cameo, slightly over two minutes.) It’s followed by a New Orleans “second line” version of CHANGES MADE, which would cause the sedentary to start dancing. The original SWEET PEA is part cowboy-ballad, part rocking barcarolle, with touches of Fifties West Coast cool arranging. HEY, LOOK ME OVER is Emily’s childhood party piece — which begins in an easy waltz-time before morphing into sleek swing — that won me over when I saw her do it (with apt choreography) at Radegast. A streamlined EMPEROR NORTON’S HUNCH has shed all its two-beat trappings, and bursts forth gracefully. SUNNY SIDE OF THE STREET features the duet stylings of Asher and Skonberg — neatly warbling the hip variations I associate with John Birks Gillespie — before the ensemble gives way to a piano / trombone duet. Emily’s original GREAT BIG WALL will be the only song you know (I would guess) that mixes Latin rhythms and Middle Eastern tonalities. Successfully, I must add. YOU ARE MY SUNSHINE begins with a slide guitar / trombone duet and then blossoms, lyrically. MUSKRAT RAMBLE begins with the Hot Five introduction and rocks from the first note (not too slow, not too fast, either) — with a splendidly tapping drum solo by Kevin Dorn in the middle. SOMEDAY YOU’LL BE SORRY, taken at a brisk clip, is another trombone-piano outing, very delicate in its earnestness, with a straight-from-the-shoulder vocal by Emily, taking the lyrics with a gentle seriousness that would have pleased its creator. And the disc ends with LIMEHOUSE BLUES, a version that had the energy of the World’s Greatest Jazz Band of fabled memory.

Nothing’s dull or forced on this CD: it’s one of those rare creations where you want to play it over again when it ends.

Dreams May Take You

---

George Colligan - The Newcomer

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:05
Size: 154,5 MB
Art: Front

( 7:38)  1. The Big Push
( 8:17)  2. Submersion
( 8:56)  3. The Newcomer
(11:30)  4. #10
( 9:28)  5. So in Love
( 8:46)  6. Empty Canvas
( 7:30)  7. Ricardo's Tune
( 4:57)  8. Evidence

A veteran of groups led by saxophonist Gary Bartz and vocalists Vanessa Rubin and Cassandra Wilson, pianist George Colligan's second recording for Steeplechase is also his first leading a quintet. Colligan is joined by trumpeter Ingrid Jensen, tenor saxophonist Mark Turner, bassist Dwayne Burno, and drummer Billy Drummond as they perform an unusual program of five originals, three by Colligan, one standard, an up-tempo rendition of Cole Porter's "So in Love," and two jazz classics. Originally a trumpeter, the Herbie Hancock-influenced pianist proves himself quite proficient on his chosen instrument, contributing an excellent solo on Wayne Shorter's overlooked "The Big Push." 

Other favorites include the complex "Empty Canvas," where each soloist gets a different meter to play over; "Ricardo's Tune," a Latin-influenced melody that swings on the bridge and during the solos' and one of the fastest versions of Thelonius Monk's "Evidence" that one will ever hear. A fine musical statement from an emerging talent. 

~ Greg Turner https://www.allmusic.com/album/newcomer-mw0000413639

Personnel:   George Colligan - piano; Ingrid Jensen - trumpet, flugelhorn; Mark Turner - tenor saxophone; Dwayne Burno - bass; Billy Drummond - drums

The Newcomer

---

The Filthy Six - The Filthy Six

Styles: Acid Jazz
Year: 1989
File: MP3@128K/s
Time: 63:56
Size: 59,1 MB
Art: Front

(3:59) 1. Lick Du Jour
(5:45) 2. Fingerbite
(6:24) 3. Get Carter
(6:01) 4. The Take
(4:53) 5. Rehab
(7:39) 6. This
(5:41) 7. Blue Donald
(5:26) 8. Catwalk
(7:49) 9. Mozambique
(4:31) 10. Three Foot Stumble
(5:43) 11. Knockout

The Filthy Six are the most exciting, authentic Soul Jazz outfit in the UK today and have established themselves as one of the most electric live acts on the scene. Their soaring horns, blistering guitar and gut-wrenching Hammond are fuelled by one of the hardest grooving rhythm sections around producing a hip-shakingly powerful mixture of jazz, funk and boogaloo totally in keeping with the finest traditions of the Blue Note sound. These instrumental groove merchants fuse boundless energy and incredible musicianship to create tight, funky music that moves the mind, body and soul whilst simultaneously tearing the roof off every venue they play!

Led by trumpeter Nick Etwell (Tom Jones, Foo Fighters, Mumford & Sons) this crack unit of erudite musical gunslingers have graced the bands of some of the biggest names in music including Amy Winehouse, Jill Scott, Beck, Mark Ronson, Jack White, Dionne Warwick, Pee Wee Ellis, David Axelrod, Ronnie Spector, Basement Jaxx, Spiritualized, 4hero, Atomic Bomb Band, Madness, Galactic and the James Taylor Quartet to name but a few. From their literal 'underground' beginnings down at the infamous Tatty Bogle Club, deep beneath the heart of London's Soho, the band built up a faithful following at their monthly 'Thursday Boogaloo' sessions in the mid 00's. Moving above ground and into venues across London and beyond they gained notoriety for the intensity of their live shows. This reputation took them up and down the country and out into the festival arena, spreading the Filthy gospel even further afield as they went. After signing to Acid Jazz Records in 2009 the boys released their debut LP 'The Filthy Six' in June 2010, attracting new fans and good reviews in the process.

The next couple of years saw the recording of 'live' sessions for Mark Lamarr (Radio2) and the Craig Charles Funk and Soul Show (6Music) for BBC Radio as well as performing a series of scintillating festival sets including the London, Marlborough, Greenwich, Ealing, Reading and Isle of Wight Jazz Festivals; Vintage at Goodwood (where they also backed up Northern Soul legend Ann Sexton), Edinburgh Festival, St Paul Soul Jazz Festival (France) and a headline slot at the Jazz Lounge, Glastonbury. The Filthy horns also squeezed in a little hop across the pond to join Brit funkateers The New Mastersounds at one of their legendary 'House Of Blues' (NOLA) sets at the New Orleans Jazz Festival. In between all of this they topped the bill at the Acid Jazz 21st Anniversary show, recorded a second album and still found time to bring the house down at some of London’s most discerning music venues; Jazz Café, Pizza Express Jazz Club, Cargo, Vortex and the world famous Ronnie Scott's Jazz Club. 2012 saw the bands second release for Acid Jazz - 'The Fox' - garner plaudits from scenesters and critics alike, including 'Album of the week' on Jazz FM.

An 11 date tour of the UK and Ireland followed, proving to further their reputation as a live act not to be missed. The past couple of years have been busy for The Filthy Six with in excess of 100 gigs; highlights of which have included 3 *Sold Out* shows for the Craig Charles Funk & Soul Club in London (twice) and Manchester; 2 *Sold Out* shows at the Pizza Express Jazz Club, London; a headline slot at the Isle Of Wight Festival (Jazz Stage); short runs in France and Spain, as well as their first gigs in the USA. In 2014 the band completed 3 Tours over 6 months in the US - two extended trips across the 'Dirty South' and a 4 date run around New York - recording 'live' sessions for KUT Radio (Austin TX), Daytrotter (Nashville TN), The Birthplace Sessions (Tupelo MS), Spectra Sonic Sound Sessions (Birmingham AL) and the Echo Sessions, set in beautiful Asheville, North Carolina. 2015 brought the release of 2 short films documenting their Filthy fun and frolics across The South (with the help of their good friends at Stetson), the completion of their 3rd studio album, a series of monthly nights at the Brooklyn Bowl, London, and a run of After-show gigs for the Mumford & Sons 'Gentlemen Of The Road' festivals in the US. March 2016 has seen the release of a third studio album on Acid Jazz Records - More Filth. Undoubtedly their Filthiest yet, the record has been scientifically engineered to have you moving and grooving so hard you'll burn holes in not 1 but 2 pairs of boots and a large chunk of that dancefloor too... Bad. Ass. With tours of the US and the UK in April and May respectively, plus further dates throughout the summer and beyond, the Filthy story continues... https://www.jazzmusicarchives.com/artist/the-filthy-six

Personnel: Drums – Graham FoxElectric; Bass – Dan Drury; Guitar – Nigel Price; Organ – Pete Whittaker; Percussion – Snowboy; Saxophone – Mark Brown; Trumpet – Nick Etwell

The Filthy Six

---

Champian Fulton - The Breeze And I

Styles: Vocal And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 58:29
Size: 134,3 MB
Art: Front

(4:52)  1. Exactly Like You
(3:52)  2. Day In, Day Out
(6:10)  3. Land's End
(4:32)  4. The Sheik of Araby
(2:49)  5. The One I Love Belongs To Some
(4:03)  6. Say It Isn't So
(3:56)  7. The Breeze And I
(4:09)  8. I'm Gonna Lock My Heart And Throw Away the Key
(5:29)  9. I'm Confessin
(4:02) 10. Easy To Love
(4:57) 11. I Can't Face The Music
(5:09) 12. My Heart Stood Still
(4:23) 13. If I Had You

For anyone unfamiliar with her music, Champian Fulton is a delightful surprise a waft of fresh air; a ray of sunshine that can brighten the darkest day. Fulton is a versatile pianist and singer who ingrains herself into the sentiment of a song. She has depth, emotional pitch and depth that rise to a high degree. It isn't surprising then, that besides leading her own groups in New York City (where she has been based since 2003), she has also played with Lou Donaldson, Frank Wess and Louis Hayes.  The Breeze and I, her third album, finds her in fine form on 13 standards. The choices give her plenty of room to stamp her credentials as a substantial and stylistic performer. Fulton sets the tone with the gently swinging "Exactly Like You," her phrasing neat, the emphasis fitting in perfectly. Her piano adds to the joyous sense of discovery as she rides the melody with verve. The blues are ripe for the picking on "I Can't Face the Music," and Fulton finds the vein into which she can filter a welter of pain. Her voice captures every nuance to elevate the song to a captivating high one that gets added power from her plaintive piano. She then turns in some stunning work as a pianist, as she romps across the break of "Day In Day Out" at fever pitch, rolling out a lode of ideas that complement her vocal delivery. The instrumental title track cements her approach; her playing sparkling, as she references the melody and then takes it to a new home where it jumps and swings. Bassist Neal Miner and drummer Fukushi Tainaka abet the comportment, making this tune absolutely irresistible. Fulton connects to the soul on this very commendable CD.~Jerry D’Souza https://www.allaboutjazz.com/the-breeze-and-i-champian-fulton-gut-string-records-review-by-jerry-dsouza.php

Personnel: Champian Fulton: piano, vocals; Neal Miner: bass; Fukushi Tainaka: drums.

The Breeze And I

---

Art Blakey And The Jazz Messengers - Oh-By The Way

Styles: Jazz, Post Bop
Year: 1982
File: MP3@320K/s
Time: 44:08
Size: 101,4 MB
Art: Front

(6:30)  1. Oh-By The Way
(6:01)  2. Duck Soup
(4:54)  3. Tropical Breeze
(5:20)  4. One By One
(7:09)  5. Sudan Blue
(8:15)  6. My Funny Valetine
(5:56)  7. Alicia

When the Marsalis Brothers left The Jazz Messengers in early 1982, Wynton suggested that Art Blakey take a close listen to trumpeter Terence Blanchard (then 19) and 21-year old altoist Donald Harrison. The drummer took his advice, and after also adding young pianist Johnny O'Neal, Blakey soon had an exciting new version of The Jazz Messengers. Tenor saxophonist Bill Pierce and bassist Charles Fambrough were still present from the older band for this excellent LP. In the Blakey tradition, this set has five new compositions from bandmembers in addition to Wayne Shorter's "One by One" and the standard "My Funny Valentine"; the music is a fine example of high-quality hard bop.~ Scott Yanow https://www.allmusic.com/album/oh-by-the-way-mw0000526449

Personnel: Art Blakey (drums); Donald Harrison (alto saxophone); Bill Pierce (tenor saxophone); Terence Blanchard (trumpet); Johnny O'Neal (piano).

Oh-By The Way

---

The Time Jumpers - Jumpin' Time (2-disc set)

Although western swing is a genre that will hopefully never die, it's rare that a new band comes along anymore that breathes as much new life into it as the Time Jumpers do. Not since the emergence of Asleep at the Wheel in the early '70s, in fact, has a group provided as much hope for the continuing vitality of this venerable all-American institution. Well, sort of new, that is: the band, whose membership has shifted considerably but settles in at 11 here, has been at it since 1998. Their weekly gigs at Nashville's Station Inn are legendary around Music City, and it's easy to see why: the Time Jumpers don't attempt to reinvent the wheel here, so to speak; instead, they get to the core of the music, brush off the dust, and remind us why it's been so universally loved for so long. Their repertoire is impressively considered -- along with purebred originals, they cover classics penned by everyone from Fats Waller to George & Ira Gershwin to Mickey Newbury and, of course, Bob Wills. Standards such as Cindy Walker's "Cherokee Maiden" and Bobby Troup's "Route 66," despite having been covered by countless predecessors, don't sound tired by the Time Jumpers, but ready to be rediscovered. The double-CD was wisely recorded in front of an appreciative audience at the Station Inn, and both the vocalists -- Carolyn Martin, Dawn Sears, and Ranger Doug Green, in particular -- and the pickers are on from the git-go. Fiddler Aubrey Haynie and accordionist Jeff Taylor slay on Duke Ellington's "Caravan," and lead guitarist Andy Reiss puts in a solo in his own show-opening "Stompin' at the Station" instrumental that sets the bar high right away. A companion DVD offers the same 26-song set list. ~Jeff Tamarkin

Label: Crosswind
Styles: Country-pop, Western Swing
Year: 2007
Art: Front

Album: Jumpin' Time (Disc 1)
Bitrate: 128K/s
Time: 56:49
Size: 130.1 MB

[4:51] 1. Stompin' At the Station
[4:44] 2. Honeysuckle Rose
[3:58] 3. Sugar Moon
[4:46] 4. Write Myself a Letter
[4:26] 5. Along the Navajo Trail
[3:11] 6. It's All Your Fault
[5:21] 7. Pig Dog Hop
[3:28] 8. Leavin' and Sayin' Goodbye
[4:24] 9. Blues for Dixie
[2:42] 10. Fidoodlin'
[4:16] 11. Bring It On Down to My House
[6:11] 12. Route 66
[4:24] 13. Smile

---

Album: Jumpin' Time (Disc 2)
Bitrate: 128K/s
Time: 58:47
Size: 134.6 MB

[2:46] 1. Roly Poly
[3:58] 2. South of the Border
[4:40] 3. Jumpin' Time
[3:13] 4. Bonaparte's Retreat
[2:57] 5. My Confession
[4:02] 6. Give Me a Pinto Pal
[6:13] 7. Embraceable You
[3:53] 8. Cherokee Maiden
[4:17] 9. My Weakness Is Too Strong
[4:42] 10. All of Me
[5:04] 11. Caravan
[7:02] 12. Sweet Memories
[5:55] 13. My Window Faces the South

Jumpin'Time(Disc 1)(Disc 2)

---

Judy Carmichael - High On Fats... And Other Stuff

Bitrate: 320K/s
Time: 50:30
Size: 115.6 MB
Styles: Piano jazz
Year: 1997
Art: Front

[3:29] 1. Gladyse
[5:03] 2. A Smo-O-Oth One (Take Two)
[4:33] 3. Riverboat Shuffle
[6:13] 4. Do Nothing Till You Hear From Me
[4:48] 5. You Took Advantage Of Me
[4:52] 6. Airmail Special
[5:16] 7. I've Got A Feelin' I'm Falling
[4:31] 8. Sugarfoot Strut
[2:43] 9. Thou Swell
[5:04] 10. A Smo-O-Oth One (Take One)
[3:52] 11. Dinah

Grammy nominated pianist Judy Carmichael is one of the world’s leading interpreters of stride piano and swing. Count Basie nicknamed her “Stride”, acknowledging the command with which she plays this technically and physically demanding jazz piano style.

A native of California, Judy Carmichael moved to New York in the early 80’s and has maintained a busy concert schedule throughout the world ever since. She has toured for the United States Information Agency throughout India, Portugal, Brazil and Singapore. In 1992 Ms. Carmichael was the first jazz musician sponsored by the United States Government to tour China. The musician that critics have referred to as “astounding, flawless and captivating” (The New York Times) has played in a variety of venues from Carnegie Hall, to the Peggy Guggenheim Museum in Venice (the first concert ever presented by the museum) to programs with Joel Grey, Michael Feinstein, Steve Ross and the Smothers Brothers. In addition, Ms. Carmichael has done comic skits and performed her music on radio and TV and performed private recitals for everyone from Rod Stewart and Robert Redford to President Clinton and Gianni Agnelli.

Judy Carmichael is one of a handful of musicians who approach jazz from a perspective of its entire history. Choosing to study jazz piano from its early roots on, she explores the music deeply, infusing it with a “fresh, dynamic interpretation of her own” (Washington Post ). The National Endowment for the Arts rewarded Carmichael’s knowledge of jazz piano with a major grant to present early jazz greats on film and to discuss the history and development of jazz piano with college students across the country. Judy Carmichael’s Grammy-nominated recording “Two Handed Stride” teamed her with four giants of jazz from the Count Basie Orchestra, Red Callendar, Harold Jones, Freddie Green and Marshall Royal.

High On Fats... And Other Stuff

---

Adela Dalto - Blue Bossa

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 49:31
Size: 113,6 MB
Art: Front

(4:52) 1. Blue for you
(3:56) 2. Freedom jazz
(3:48) 3. A Brazilian affair
(4:22) 4. Into the night
(4:39) 5. Emorio
(5:15) 6. Love me with your heart
(3:36) 7. Una manana
(3:10) 8. I'll remember your name
(5:16) 9. The days of wine and roses
(5:21) 10. Agua de Beber
(5:14) 11. Summertime

Adela Dalto was born in Texas to Mexican parents, and grew up in Gary, Indiana. She wed the late Latin jazz pianist Jorge Dalto, and has claimed her own ground as a powerful R&B and jazz vocalist. Having honed her skills through years of performing in small New York clubs, her rise to international stardom was boosted by her involvement with her husband's group, the InterAmerican Band. She was featured soloist on the tune "Ease My Pain," from the group's 1985 album, Urban Oasis.

Dalto has performed with such top-ranked New York-based Latin musicians as Jerry Gonzalez, Hilton Ruiz, and Mauricio Smith's Latin Jazz Orchestra, and was a featured vocalist with Mario Bauza's AfroCuban Orchestra and Carlos "Patato" Valdes's AfroJazzia Ensemble. She continues to perform with her own band at such New York nightspots as the Blue Note, S.O.B.'s and Birdland.~ Craig Harrishttps://www.allmusic.com/artist/adela-dalto-mn0000930650/biography

Personnel: Lead Vocals – Adela Dalto; Backing Vocals – Adela Dalto, Daniel Ponce, Doris Eugenio, Paulinho Boca, Rodrigo Seins; Bass – Nilson Matta, Sergio Brandao; Cavaquinho – Sergio Brandao; Drums – Portinho, Ricky Sebastian; Flugelhorn – Charlie Sepulveda; Guitar – Romero Lubambo; Percussion – Café, Charles Negrita, Frank Colon, Nicky Marrero; Percussion, Trumpet – Jerry Gonzalez; Piano, Keyboards – Aloisio Aguiar; Saxophone – Dick Oates; Trombone – Tom Malone

Blue Bossa

---